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'Fats' Waller revival is jumping
(by Herb Hammer - February 10, 2010)
THEATER, BY HERB HAMMER
'Fats' Waller revival is jumping
"The Joint is Jumpin'," a song from "Ain't Misbehavin'," the award-winning, jazzed-up revival of "Fats" Waller songs, best describes the exciting production staged at the Bolton Theatre of the Cleveland Play House. The Bolton is truly jumping.
It's been 32 years since "Ain't Misbehavin'" took away a bushel of awards from Broadway, including three Tonys. Yet, the show still has audiences reeling. What makes the show remain popular could be the whole idea that brought Murray Horwitz and Richard Maltby Jr. together that continues to work. Or is it the five terrific performers and their choreographer Byron Easley and director Kent Gash that keeps the show fresh? Whatever the reason, "Ain't Misbehavin'" is nothing short of great, a rarely used word when it comes to theater reviewing.
The cabaret-style musical takes us back to the 1920s and into the 1930s and the Harlem Renaissance, when jazz was king and Thomas "Fats" Waller was a revered music maker. The quintet on stage at the Play House is full of surprises, singing 30 of Waller's greatest hits in a style far different from what you might expect.
Darryl Ivey, on a floating spinet piano, is the only accompaniment in most of Act 1. Smooth numbers like "I've got a Feeling I'm Falling" and the title song help ease you into the hot jazz numbers of Act 2.
The performers, Rebecca Covington, Angela Grovey, Christopher Morgan, Ken Robinson and Aurelia Williams, do much more than sing. They are endlessly on the move, dancing, swinging, strutting and flirting.
From the end of the first act and through the entire second, a seven-piece band backs up the performers. The second-act overture is a knock-out. The highly skilled band works well with the singing. But while the performers are grabbing every moment, the band members are unsmiling and a bit stiff in their upstage grandstand.
The obscure songs fare much better than the more familiar. "I'm Gonna sit Right Down and Write Myself a Letter" and "I Can't Give you Anything but Love" may have a chilling effect. "Your Feet's too big and fat and Greasy" are hot foot stompers.
Christopher Morgan steps into the audience to do "The Viper's Drag," the sensual reefer song. The rest of the show is confined to the stage, where it belongs. This song appears to come out of nowhere, as the shirtless, muscular Mr. Morgan uncomfortably upsets the breezy songfest with his slow, sensual song while all the time smoking a fake cigarette.
The moving lament "Black and Blue" breaks up the high-flying jazz, as all five performers are seated in a semicircle harmonizing. This memorable moment had the opening-night audience in tears.
Emily Beck's vaudeville set keeps the show in the Savoy-Harlem style. Best is when the band slides forward to do the exciting second-act opener then slides back to let the singers have the floor.
As in any show, there are moments here and there that could have been left out. Ken Robinson's painfully slow interpretation of "Honeysuckle Rose" practically kills off this historic "Fats" Waller tune.
The four songs called "Finale" have little connection to "Fats" Waller and have a jarring effect. "Two Sleepy People" and "I Can't Give you Anything but Love" are out of place. Neither was written by Mr. Waller.
There is no dialogue connecting Mr. Waller to the songs. Though he never wrote lyrics, most of the music has been written by him or made popular by "Fats" Waller. His musical stamp is unforgettable, though he died when he was merely 39 years old.
"Ain't Misbehavin'" is a musical treat that shouldn't be missed.
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