Through Sun 5/21
On opening night Great Lakes Theater’s Ain’t Misbehavin’ welcomed the audience to a celebration of “old” music (that is, 1920s and 1930s). All the action (and there’s plenty) took place in a nightclub filled with music either written or interpreted by the legendary African-American musician Thomas “Fats” Waller.
The revue-style show in Playhouse Square’s Hanna Theater allows a glimpse of Waller’s legendary contributions to New York City’s Harlem Renaissance and celebrates the atmosphere which encouraged it. If audience foot-tapping was any indication, then music director and keyboardist William Knowles and the multi-talented cast proved what delighted a past age can still delight this one.
Director (and choreographer) Gerry McInyre, aided by scenic designer Stanley A. Meyer’s elegant, spare set, exploited the Hanna’s beloved performer-audience proximity to simulate a nightclub. A striking art nouveau frame showed off the band (seated in the back) while leaving room up front for a piano, a few chairs, and tables, and — of course — a dance floor.
The show features music by Waller and others whose work he shared. Waller did write the show’s title song, “Ain’t Misbehavin’ ’’ (plus hundreds of others), but we also hear Waller’s first recorded song (1922), “Tain’t Nobody’s Biz-Ness If I Do” (by Porter Granger and Everett Robbins).
(Warning: Research danger: While writing this, I fell down a rabbit hole after googling “Fats Waller” and finding a Sydney Bechet album featuring tunes by Waller. Try [if you dare] this link.)
The band, made up of Ray DeForest on bass, Emilio Rosario on reed, Juan Ingram on trumpet, Elijah Gilmore on drums and Eric Richmond on trombone, conveyed great spirit and jazz age vibe in tunes such as “The Joint is Jumpin’,” “Spreadin’ Rhythm Around,” “Honeysuckle Rose” and many others.
There was no storyline, but it wasn’t missed. Each musical number sketched out a mini-drama danced and sung by the six fabulous performers. Jessie Cope Miller, Colleen Longshaw, Brittney Mack, Tyrick Wiltez Jones, William Knowles and David Robbins kept things lively. All took turns mixing solo and ensemble performances.
The three ladies flounced around and seemed to have a great time in period costumes by designer Dustin Cross. The gentlemen, not to be outdone, also conveyed the Roaring Twenties spirit sporting Cross’s vision of cool hats, suspenders and coats.
Highlights included David Robbins’ inviting a smiling audience member, who was wearing sparkling silver trainers, on to the stage and singing to her “Your Feets Too Big.” (Either it was a set-up or she was a great sport — or both, probably both.) Others were less jolly, such as “The Viper’s Drag,” with Tyrick Wiltez Jones, a piece that showed the era’s dark absinthe vibe. Jessie Cope Miller and Colleen Longshaw brought laughs as they satirized the battle between the sexes in “Find Out What They Like.”
Bottom Line: Unbothered by a plot (and that’s a plus and a compliment), this Great Lakes season finale is a delightful way to have a good time and to remember that your great-grandparents or great-great-grandparents were not always old.
[Written by Laura Kennelly]
One Response to “THEATER REVIEW: “Ain’t Misbehavin'” @ Great Lakes Theater by Laura Kennelly”
EDWARD MYCUE
How many acts and how long was the entertainment I wondered. Must have been worth-it fun.