AIN’T TOO PROUD IS TEMPTATIONAL

                                       Illustration by Kennth Fallin

Stories of stars and groups have become the Broadway craze since the Jersey Boys.  Stories of their lives of both ups and downs are combined with what you would construe as a concert performed by actors rather than the artists themselves.  Ain’t Too Proud is the latest to hit the Broadway stage that follows the history of the Motown Group known as the Temptations that turned out to be and audience catcher.

 

Lights up on a stage with five men dressed in fly suits and smooth moves as the Temptations sing “The Way You Do the Things You Do,” the first hit on the charts.  It’s here that we have Eddie Kendricks (Jeremy Pope), as lead voice, David Ruffin (Ephraim Sykes), Paul Williams (James Harkness), Melvin Franklin (Jawan M. Jackson) and Otis Williams (Derrick Baskin) the men who built The Temptations. It is not mistakable that Melvin is the bass singer.  Otis begins the “story” growing up in Detroit and they sing, “Runaway Child Running Wild.”  

Let me first say that I grew up hearing the songs as I practically Velcro-ed the transistor radio to my ear and uttered every lyric.  I was able to remember which groups sang which songs but that faded away after many years.  Unless it was a group that had a name like Diana Ross and the Supremes, Gladys Knight and the Pips or Smokey Robinson and the Miracles, I wouldn’t be able to tell you the names of any other members. Did I care about any performer’s personal life?  Never. It was all about entertaining me.

Before I give you a rundown on the show itself, I want to share my critique.  I saw the show on a Wednesday afternoon and there wasn’t an open seat unless I missed the ones up in the rafters.  Talent was on the spot in regards to the songs, dance movements and acting.  Having never seen an actual performance of The Temptations, I cannot give a critique as to whether each of the parts that the actors played was spot on with the portrayals. One thing for sure was that the audience was more than reveling in the spectacle. 

A few times when “Diana Ross and the Supremes” made the scene, the leading woman did sound and sing like her….as in the songs, “Baby Love,” “You Can’t Hurry Love” and “Come See About Me.”  However, only a portion of these songs are sung. Huge kudos and much applause to Candice Marie Woods on sounding and somewhat looking like Ross.  

Sets were not a biggy, nor did they really need to be for this show.  They did have moving images in the rear to help portray actors running, etc and where they were at the time.  There was a stage mechanics that made it appear as though the group was in a bus and driving and although there was no helicopter, they did have the back of a red sedan make its way on the stage. 

Back to the story as they become a part of Motown and meet Berry Gordy (Jahi Kearse) and Smokey Robinson (Christian Thompson). As the show continues you take in the group’s ups and downs with who gets fired, who dies, etc.  I felt that the story line was really made for the younger generation that did not grow up hearing this group as well as getting a better sense of why the songs emerged. 

As for all of the songs in Ain’t Too Proud, here they are keeping in mind that some were sung by groups other than The Temptations.  “Ain’t Too Proud to Beg” “Baby Love” “Ball of Confusion (That’s What the World is Today)” “Cloud Nine” “Come See About Me” “Don’t Look Back” “For Once in My Life” “Get Ready” “Gloria” “I Can’t Get Next to You” “I Could Never Love Another (After Loving You)” “(I Know) I’m Losing You” “I Want a Love I Can See” “I Wish it Would Rain” “If I Could Build My Whole World Around You” “If You Don’t Know Me By Now” “I’m Gonna Make You Love Me” “My Girl” “Papa Was a Rollin’ Stone” “Runaway Child Running Wild” “Shout” “Since I Lost My Baby” “Speedo” “Superstar (I Remember How You Got Where You Are)” “The Way You Do the Things You Do” “War” “What Becomes of the Brokenhearted” “You Can’t Hurry Love” “You’re My Everything” 

My biggest disappointment at this performance was not with the cast but the audience.  I realize that it was the Isley Brothers who made “Shout” a hit, but it was a feature in the show as sung by The Temptations. Nobody rose for the occasion, I didn’t see hands raising up or anyone yelling, “shout” loudly or softly even when it was encouraged.  This particular song become so popular that whenever or wherever you heard it being sung, you just automatically got ready to participate as if it was a Rabbi telling the congregation to stand for a prayer that indicated when what the participants were expected to recite.

Final number is “What Becomes of the Brokenhearted” that goes into the closing number, “I Can’t Get Next to You” that has the entire cast of Temptations, past and present, as well as all of the men and women. When it comes down to it, Ain’t Too Proud: the life and times of The Temptations is worth experiencing as it will certainly leave you with a feeling of great sound, talent and energy. 

Ken Fallin illustration: L to R: Derrick Baskin, Ephraim Sykes, Jeremy Pope, Jawan M. Jackson, and James Harkness

   

DON’T RUSH TO SEE THE CHER SHOW – SHOULD RUN ON BROADWAY FOR YEARS!

Pop culture has given us the iconic Cher.  Broadway is giving us 6 decades of her life through three different “Chers” at the Neil Simon Theatre that commands years of running.  Tremendously energetic and empathetic, you’ve got love it.  Award winners and drag queens will “kill” to get the outfits designed by Bob Mackie.

  

Curtains up for what sounds like an overture as we see a logo variety of Chers that culminates into a vamp of If I Could Turn Back Time.  Star (Stephanie J. Block), the eldest and of what are her three life stages, is dressed in her iconic outfit with a black leather jacket. She sings and delivers a monologue to the accompanying sailors regarding the past 30 years and earning her wings.  She suddenly appears wearing wings. 

Star introduces her guest stars, Lady (Teal Wicks) and Babe (Micaela Diamond).  Lady is Cher in the mid-years if her career, while Babe is the beginning.  The two wonder how Star has stayed so young looking over the years. “Exercise. I even named my dog ‘6-miles’ so that I can say I walk 6 miles everyday.” This is just the first of Cher’s wittiness.  

Cherilyn Sarkisian Finds Her Voice – 1952 as Star introduces her youngest self and blond haired Georgia Holt (Emily Skinner), her mother.  Complaint of Cher being called “Half –Breed” because of her dark hair and Armenian father (not due to the much thought American –Indian) and yes, the song.

Cherilyn is now referred to the role of “Babe” and goes into the song, A Dream Is A Wish Your Heart Makes.Story is that her father took a hike and left a note as Georgia sings, You Better Sit Down, Kid, telling her that the song makes her strong.  

 

We now go into the 6 decades of Cher with a whole load of songs and production numbers. Throughout the production the three Chers will get together and give advice to one of them.  Onto Babe meeting Sonny Bono (Jarrod Spector) at a night club on Sunset Strip. 

Sonny tells her, “Look, we got three things. A piano with broken yes, each other, and a philosophy” and promising that they will succeed within two years.  Babe requests a sewing machine and Sonny springs for it.  This is what must have started Cher’s iconic wardrobe.

Naming themselves “Sonny and Cher” they head for a tv studio for Tops of the Pops in 1965 to sing, I Got You, Babe, the first of many songs that he will write for her.  They get married. I have to inject that at this point Spector resembles Bono enough to get away with it. As soon as he opened his vocal cords, the audience went screaming with applause.    

Since the years have progressed, we now see Lady portraying Cher’s life as they introduce the Sonny and Cher Comedy Hour.  Star now enters to sing Vamp segueing into viewing a multi-mirrored fitting room with racks and racks of gorgeous outfits made by Bob Mackie portrayed by Michael Berresse.  The real nine-time Emmy award winner Bob Mackie IS the Costume Designer for The Cher Show. We now go back to Lady doing the singing as she goes into Ain’t Nobody’s Business as a duet with Mackie (the character).  

We are introduced to Sonny and Cher’s offspring. They are calling the child “Chaz” and you don’t get to know as to whether “the child” is male or female.  Lady is complaining about not getting enough time to spend with Chaz. Bono has Cher sign a contract, not realizing that he will own all of the business, even though the title is Cher Enterprises.  Negativity in the family brings the duet to singing, Living In A House Divided.  This is also around the time you’ll hear, Bang, Bang, He Shot Me Down.  Keep in mind that sometimes one, two or all three Chers will enter into a song.

It is the discussion and protest of the contract and Sonny’s bullying…”You want to go back to being that shy little nobody without me standing next to you? Do you have any idea how lonely you’re going to be?”….that takes her into Song For the Lonely and end of Act I.  

Let me pause to give credit to the wonderfully syncopated ensemble due to Director Jason Moore and Choreographer Christopher Gattelli.  Zane Mark gets the credit of the dance music arrangements. Of course, the show wouldn’t have life if it weren’t for the third genius…Rick Elice, who wrote the book.  Total kudos for Daryl Waters who supervised the music, orchestra and arrangements.  Then there is Christopher Jones and Brett J. Banakis who are responsible for the set designs. 

Back to the story where she first continues to perform with Sonny on the Sonny and Cher Comedy Hour and divorces him.  She then meets Gregg Altman (Matthew Hydzik), falls in love, marries him and a second offspring, Elijah, comes into their lives….but the relationship doesn’t last forever and Sonny comes back  just to continue the Sonny and Cher Comedy Hour with her.   

Here is where myself and (apparently) the audience considered the best production number in the show. A smoky voodoo dive and Apache Dance depicting the tale of a gorgeous voodoo sorceress with men surrounding her.  The song is Dark Lady sung by Sonny, Gregg and the male ensemble.  What makes this number and audience (stander-upper) is the dancer portraying Dark Lady, Ashley Blair Fitzgerald.  You’ll understand when you see it all. 

The show goes into Cher’s career with the movies, Silkwood, Come Back to the Five and Dime, and Moonstruck for which Cher won an Academy Award for the Best Actress.  She purposely uses the line “Snap out of it” in the show. 

The beat goes on through years of ups and downs as well as acknowledging the death of Sonny.  One huge production number fills the final minutes, each from one of Cher’s “Final Tours.”  Lady sings Strong Enough and Babe sings Woman’s World in which lyrics say, “This is a woman’s world/All the women in the world stand up/Come together now.”  Microphone is handed to Star as she continues by singing You Haven’t Seen the Last of Me.  Finale with the whole company singing, Do You Believe.

Now for my take on the Chers.  All three showed enormous talent in singing acting and dance moves. There are certain word pronunciations, facial expressions and body movements that characterize Cher.  If you turned away to listen, does each of them get that particular sort of twangy sound as well? You call it when you see the show.  No doubt that Block was on point with it all and rightly given the character name of “Star.”  My recommendation is to see the show when she has the lead that she commands. 

Skinner is certainly worth some kudos in both the vocals and portraying Cher’s mother. Yes, she does have more than one scene. Although there doesn’t appear to be a credit in the Playbill, I think it is Skinner that cameos Lucille Ball. 

Since there is no list of numbers in the program, I’ll “Cher” this with you in no order. The following are songs written by Sonny Bono: Baby Don’t Go; Bang Bang; I Got You Babe; Little Man; The Beat Goes On; and You Better Sit Down, Kid. 

Various artists wrote: A Dream Is a Wish Your Heart Makes; Ain’t Nobody’s Business If I Do; All I Ever Need Is You; Be My Baby; Believe; Da Doo Ron Ron; Dark Lady; Gypsies, Tramps and Thieves; Half Breed; Heart of Stone; I Found Someone; It Don’t Come Easy; I Like It Like It Like That; If I Could Turn Back Time; Just Like Jesse James; Living In a House Divided; Midnight Rider (written by Gregg Altman); Ramblin’ Man; Song For the Lonely; Strong Enough; Take Me Home; The Shoop Shoop Song; The Way of Love; Vamp; When the Money’s Gone; Woman’s World;  and You Haven’t Seen the Last of Me. 

The Cher Show’s website will provide you with song lists of each segment of her career, some not necessarily in the show itself such as I Hope You Find It, which I believe she dedicated to Chaz after the gender reassignment. I did notice that the baby blanket was blue and white.  

When it comes down to it, the message of Cher is about women demonstrating strength; perfect for March…Women’s History Month.  This is a show not to be missed as it’s “Cher” enjoyment.  www.thechershowbroadway.com    

THE LAUGHTER GOES RIGHT IN THE PLAY THAT GOES WRONG

I am so glad that it wasn’t just me that was screaming with laughter last week at Broadway’s Lyceum Theatre.  I was sure that I would end up with a huge headache and no air left in my lungs.   The secret was in not holding anything back.  The Play That Goes Wrong has got to be the most hilarious play that I have ever experienced. 

Originally from London The Play That Goes Wrong is ingeniously written by three of its cast members Henry Lewis, Jonathan Sayer and Henry Shields.  It is both brilliantly and painstakingly directed by Mark Bell.  First, let me explain the whole setup. 

This is a play within a play where the members of the Cornley Polytechnic Drama Society are seriously attempting to perform, The Murder at Haversham Manor, by Susie H.K. Brideswell.   The action takes place the evening of Charles and Florence’s engagement party in the year 1922.  As far as the murder mystery it is opening night when every possible thing will go wrong.

Aside from the main stage, there is a Tech Box where Trevor sits. Situated in an actual box seat area, this is in view of the audience. Littered with empty drink cans and other garbage, it is complete with computer and faders for lighting and sound. 

There are two floors to the manor of which has an elevator.  A pillar extending down to the ground is used as a support beam.  

What you have is a theatre group bent on doing the play no matter what happens or how they have to adlib the faults and still stick to the script. We are talking errors such as incorrect props, this live dog that they cannot find (and will substitute a chain) and parts of the sets falling down throughout their play.  With all plays, those that are not part of the cast or on stage at the moment are trying their utmost to not make it obvious that they are present. 

One running gag is about a bottle of scotch that gets switched for a full plastic bottle labeled White Spirit with a large Flammable symbol on it.   This gets poured many times, drunk, reacted to and spit out…even when the characters already know that it will happen, they continue to follow the script. In fact one person does this following with the line, “That’s the best whiskey I’ve ever tasted.” 

I think I’ve given you enough of an idea on how this play goes wrong.  I certainly don’t want to write about all of the errors that will have you bursting in laughing, chuckling, cackling, giggling and certainly roaring.  The entire cast needs to be applauded not just for their acting but for the physical endurance they go through.  As for me, seeing The Play That Goes Wrong has kept me awake some nights.  I think about the play and burst into laughter.  A few times more, I have to get up to pee. 

THE LAUGHTER GOES RIGHT IN THE PLAY THAT GOES WRONG

I am so glad that it wasn’t just me that was screaming with laughter last week at Broadway’s Lyceum Theatre.  I was sure that I would end up with a huge headache and no air left in my lungs.   The secret was in not holding anything back.  The Play That Goes Wrong has got to be the most hilarious play that I have ever experienced. 

 

Originally from London The Play That Goes Wrong is ingeniously written by three of its cast members Henry Lewis, Jonathan Sayer and Henry Shields.  It is both brilliantly and painstakingly directed by Mark Bell.  First, let me explain the whole setup. 

This is a play within a play where the members of the Cornley Polytechnic Drama Society are seriously attempting to perform, The Murder at Haversham Manor, by Susie H.K. Brideswell.   Let me first give you the characters.  Annie Twilloil (Nancy Zamat) is the company’s stage manager.  Trevor (Robert Falconer) is the company’s lighting and sound manager who is searching for his lost cd of Duran, Duran.  Chris Bean (Henry Shields), the head of the drama society, directed the murder mystery and portrays Inspector Carter.  Jonathan Harris (Gregg Tannahill) plays Charles Haversham, the deceased.  Robert Grove (Henry Lewis) plays Thomas Colleymoore, Charles’ old school friend.  Dennis Tyde (Jonathan Sayer) has the role of Perkins, Charles’ Butler.  Max Bennett (Dave Hearn) portrays both Cecil Haversham, Charles’ brother and Arthur the Gardner. Sandra Wilkinson (Charlie Russell) has the role of Florence Colleymoore, Charles’ fiancé and Thomas’ sister.   The action takes place the evening of Charles and Florence’s engagement party in the year 1922.  As far as the murder mystery it is opening night when every possible thing will go wrong.

Aside from the main stage, there is a Tech Box where Trevor sits. Situated in an actual box seat area, this is in view of the audience. Littered with empty drink cans and other garbage, it is complete with computer and faders for lighting and sound. 

There are two floors to the manor of which has an elevator.  A pillar extending down to the ground is used as a support beam.  

The Play That Goes Wrong actually begins prior to the murder mystery.  Actors will be going about the audience in a subtle manner and the set is not quite finished as well as having difficulty in getting it completed.  Aside from trying to locate Trevor’s Duran, Duran CD, they are also trying to locate Winston, a dog that is supposed to be used for later in the show.   Annie is trying to get the mantelpiece together and it keeps on falling apart.  An audience member is asked to come up and assist her.  Just as it appears to be fine, the mantelpiece falls off the wall.  This is the running gag of the show as everything, especially the sets, will go wrong. 

What you now have is a theatre group bent on doing the play no matter what happens or how they have to adlib the faults and still stick to the script. We are talking errors such as incorrect props, this live dog that they cannot find (and will substitute a chain) and parts of the sets falling down throughout their play.  With all plays, those that are not part of the cast or on stage at the moment are trying their utmost to not make it obvious that they are present. 

The first of the hilarity occurs when Jonathan enters in the dark, trips and falls.  Lights go up and he is on the floor.  Lights dim. Lights go up and he is now on the couch and dead.  He is trying to portray a dead person but having people step on his hand is just a small problem compared to leaving the stage.  At first he is placed in a canvas stretcher and when lifted goes right through it.  The cast, not wanting to acknowledge the error, continues with the dialogue and movement while the actor now needs to find an inconspicuous way of getting off the stage as if the audience doesn’t see that he is doing this.  In other words the characters carry off the poles leaving Jonathan on the floor….face down…due to his falling off the couch and not reacting.  

As in many acting company casts there is that one actor with the big ego.  This prevails in the character of Max Bennett.  The first time he does something that gives the audience a pause to applaud, he welcomes it.  In fact, he milks it each time laughter or applause is directed toward him. 

Another great running gag is about a bottle of scotch that gets switched for a full plastic bottle labeled White Spirit with a large Flammable symbol on it.   This gets poured many times, drunk, reacted to and spit out…even when the characters already know that it will happen, they continue to follow the script. In fact one person does this following with the line, “That’s the best whiskey I’ve ever tasted.” 

I think I’ve given you enough of an idea on how this play goes wrong.  I certainly don’t want to write about all of the errors that will have you bursting in laughing, chuckling, cackling, giggling and certainly roaring.  The entire cast needs to be applauded not just for their acting but for the physical endurance they go through.  As for me, seeing The Play That Goes Wrong has kept me awake some nights.  I think about the play and burst into laughter.  A few times more, I have to get up to pee. 

Running time for the show is about 2 hours. No matinee on Wednesday but do have them on Saturday and Sundays.