Left - Right: Clinton Derricks-Carroll, Tareek Lee Holmes
AIN’T MISBEHAVIN’: The Fats Waller Musical Show; Music by Thomas “Fats” Waller; Based on an idea by Murray Horwitz & Richard Maltby, Jr.; Directed and Choreographed by Robert Barry Fleming; Musical Direction by Thaddeus Pinkston. Center REPertory Company,
Lesher Center for the Arts (LCA),
Lesher Center for the Arts (LCA), 1601 Civic Drive, Walnut Creek¸
California. 925.943.7469 or
www.CenterREP.org. September 4 - October 11
THE JOINT IS JUMPING FOR JOY
Need an evening out to relieve you from all the TV political shenanigans, a tiring week at the office, a day with the kids running rampant or even a bad hair day? Whatever, go to see “Ain’t Misbehavin'” ‘a swinging, rollicking, and finger-snapping tribute to the African-American musicians of the 1920s and '30s.’ Center Rep has rounded up diverse, top-notch singers/dancers who cut up a storm and seem to be having as much fun as the appreciative audience. They are accompanied by a seven piece onstage band positioned on a moveable platform with musical director Thaddeus Pinkston fingering the piano keys that would make Fats Waller proud.
“Ain’t Misbehavin’” had an inauspicious start at as cabaret show at the Manhattan Theatre Club on East 73rd Street in 1978. The popular response was so great that they mounted a full-scale production for Broadway that played for 1604 performances. Since that time it has made the rounds in the U.S. and Europe including a successful run on London’s West End. There have been many revivals, one of which included the Pointer Sisters.
The five outstanding performers (alphabetically)Anika Bobb, Clinton Derricks-Carroll, Marcie Henderson, Tareek Lee Holmes and Anise E. Ritchie recreate the memories of the Harlem Renaissance through music under the astute control of director/choreographer Robert Barry Fleming. The pacing and song placement are superb. Starting with a canned segment of “Fats” singing one of his songs and Pinkston picking up the refrain on the upright piano. Then the joint comes alive with high energy from the opening number Ain’t Misbehavin” to the hand clapping sing-a-long Fat & Greasy lead by Holmes ( a big man in the image of “Fats” Waller) and Derricks-Carroll near the end of the show before the finale that includes, I'm Gonna Sit Right Down & Write Myself a Letter, Two Sleepy People, I've Got My Fingers Crossed, I Can't Give You Anything But Love and Its A Sin To Tell A Lie.
There are so many great moments it is difficult to select which ones to give individual praise. Solo numbers morph into duets, trios, quartets and, of course, ensemble quintets. Clinton Derricks-Carroll shares lascivious moments with all of the girls and dances up a storm with Anika Bobb. The marvelous gaudy costumes of wide stripped bright colored jackets for the boys and form fitting delights for the girls in act one, get even better for act two. Holmes’ wearing an overly large fur coat over his black pinstriped suit, was a big hit.
Act one showcases: Ain't Misbehavin', Lookin' good But Feelin' Bad, 'Tain't Nobody's Bizness if I Do, Honeysuckle Rose, Squeeze Me, Handful of Keys, I've Got A Feeling I'm Falling, How Ya Baby, Jitterbug Waltz (a smashing dance number), Ladies Who Sing with the Band, Yacht Club Swing, When the Nylons Bloom Again, hilarious Cash for your Trash, Off-Time, ending with The Joint Is Jumpin'.
Act two gets off to a foot-stomping start with individual members of the band swinging with woodwinds, bass, horns, drums and the great Pinkston on the ivories. After the opening number Spreadin' Rhythm Around, they seem to have more energy as they spread the accolades around for Lounging at the Waldorf, Your Feets Too Big, That Ain't Right, Viper's Drag ( a show stopper), Mean To Me, Keepin Out Of Mischief Now, Find Out What They Like ( a trio by the girls with advice on how to hold your man) and the sing-a-long Fat & Greasy. The quintet of Black and Blue has a double edged meaning highly appropriate to Harlem of the 1930s.
The chemistry between the performers and musicians is infectious, reaching out to the audience who gave them a well deserved standing ovation.
COURTESY OF THEATREWORLD INTERNET MAGAZINE
