Jukebox musicals continue to populate Broadway. After the mega-hit Mamma Mia! came the Tony winning Jersey Boys. The dull disco biography Summer: The Donna Summer Musical opened and closed last year. Still running on Broadway, this season’s entertaining (albeit flawed) The Cher Show continues to believe in life after love. Adding to this expanding universe is the surprisingly excellent Ain’t Too Proud: The Life and Times of The Temptations.
One of the most successful popular music acts of all time, The Temptations had four number one singles. They were the first Motown act to score a Grammy Award for “Cloud Nine” in 1969 (highlighting how notoriously behind the curve these awards always were). The group’s hits are classics including “My Girl” and “Get Ready.” Legendary producer Berry Gordy deftly molded these young men into one of the label’s biggest success stories.
1964’s Meet The Temptations was a compilation of previously released singles including “The Way You Do the Things You Do.” Four years later they recorded Diana Ross & the Supremes Join The Temptations. The two monumental Motown powerhouses combined for a television special. How big was Motown during this time? In one week during December 1969, they had five of the top ten Billboard singles: “Love Child,” “Cloud Nine,” “I Heard It Through the Grapevine,” “For Once in My Life,” and from this super group combination, “I’m Gonna Make You Love Me.”
Considering that history, I understand why the Supremes get more than a quick number in Ain’t Too Proud. Dominique Morisseau’s book has to cover a lot of ground so details are predictably rushed. The story will be familiar to anyone who has ever heard how stars are born and how they flame out amidst the trappings and pitfalls of success. This particular one includes nearly all of them including ego clashing, complicated relationships within the group and with women, alcoholism, drugs, music industry politics and an extraordinary cascade of musical excellence.
Admittedly, that last sentence could be applied to many acts from the recording industry. What makes Ain’t Too Proud stand out is the inventive and incredibly interesting staging by Director Des McAnuff. While the story might feel familiar and the presentation of hit after hit might become wearying, the unique way everything evolves is fantastically fluid and, in its own way, artistic. I marveled at the creativity which never ceased throughout the production.
Performances are terrific across the board. As Otis Williams. Derrick Baskin narrates the tale. Noting that there is no progress without sacrifice, he revisits this journey wondering whether it was worth losing his friends. Mr. Baskin effortlessly switches from narrator to group leader and performer then back again. He is excellent.
The diverse personalities and musical stylings of the original four Temps are well played by talented performers. From Detroit, Otis was joined by Paul (James Harkness, heartbreaking), deep voiced Melvin (Jawan M. Jackson), the combative Eddie (Jeremy Pope) and the gorgeously smooth voiced David (Ephraim Sykes). In a frenzy of fast moving storytelling and dozens of songs, each manages to create a fully fleshed out individual.
This show doesn’t soften the hard edges (like the musical Motown did). As a result, this story is more compelling than a silly hagiography. The book effectively considers the ups and downs encountered along the group’s journey. Agonizing decisions are part of The Temptations’ history. As of today, there have been 24 members of this group.
Four women play multiple parts throughout this show and they are all, without exception, terrific. Saint Aubyn as Dennis Edwards (and others) was particularly memorable. I also loved Jarvis B. Manning Jr.’s performance of both Al Bryant and Norman Whitfield.
Otis Williams frequently reminds us that the group as a whole was much bigger than the sum of its parts. The creative team for this production is no different. The technical design aspects, choreography (Sergio Trujillo) and costumes (Paul Tazewill) were all first rate.
The emotional depth of the second act elevated Ain’t Too Proud from a slick jukebox musical entertainment to a richer examination of the human condition. This musical recounts yet another trials and tribulations tale of the destructive nature of show business. In this case, however, the superb quality of the overall production ensures that this story shines brightly. Nearly as dazzling as the talented men brought back to life to be celebrated all over again.