Review: MOTOWN THE MUSICAL Is High-Speed Nostalgic Fun at Dr. Phillips Center for the Performing Arts
By: Matt Tamanini Mar. 11, 2015
How do you cram 50 hit songs, over 90 characters, and 25 years of history from one of music's most important companies into a dramatically satisfying, two hour and 45 minute musical? The answer is, you don't; but based on the enthusiastic response to MOTOWN THE MUSICAL, playing at Orlando's Dr. Phillips Center for the Performing Arts through March 15th, that really doesn't matter. What does matter is that the music of Motown (the record company and the musical) is here to make people happy. That mantra is repeated multiple times during the show's most difficult situations by its central figure, Berry Gordy. According to the musical, Motown's founder created the most successful independent record label of all-time on little more than determination and a desire to spread joy. As anyone familiar with Motown's mile-long string of hits, or the stage show that they inspired, can attest to, Gordy, Hitsville U.S.A., and MOTOWN THE MUSICAL more than delivered on creating joy for countless generations of music fans.
Directed by Charles Randolph-Wright, the show opens with a rousing vocal battle between two of Motown's most successful groups, The Four Tops and The Temptations. The groups going back and forth, attempting to one-up each other with hit after hit, served as an appropriate sampling of what the rest of the night would hold. The show includes 60 beloved songs, including two written specifically for the musical by Gordy and Michael Lovesmith. While almost all are dramatically truncated, each maintains the essence that made them hits originally. Whether you grew up with Motown's original stars, like The Miracles and Mary Wells, the next generation of The Jackson 5, Stevie Wonder, or Lionel Richie, or know the label more from theme weeks on singing competition shows, there is no doubt that the energy of the show's music will have you smiling throughout and tapping your foot along with every note.
After the iconic songs, MOTOWN THE MUSICAL's greatest strength is its incredibly talented ensemble. Other than a few equally talented stars, every cast member bounces back-and-forth between multiple legendary performers, creating the incredibly rich world of Motown's prodigious family tree. The ensemble's energy, precision, and ability was dizzying; and between lightning-fast quick-changes, spot-on dance moves, and upbeat tunes, I was exhausted just watching them. Much of the show's heavy lifting is done by this group of 21 actors, singers, and dancers, and while they might not get the recognition of the names above the title, their talent and stamina deserves as much adoration as any audience can supply.
It must be said, for those extremely familiar with the original songs and artists, that, unlike a show like MILLION DOLLAR QUARTET, due to the breadth of characters, no one in MOTOWN is giving a nuanced impersonation of the real-life figures that he or she is portraying; but with the show's set up, highlighting as many Motown artists as possible, they don't have to. They sing a few lines of a beloved song, knock out a few steps of Patricia Wilcox and Warren Adams' evocative choreography, and they are on to their next character, having left behind a nostalgic homage to what made that individual a legend in the first place.
What little story MOTOWN THE MUSICAL has centers on Gordy's efforts to build his company from nothing, to maintain it despite racial and economic difficulties, and his tumultuous love-affair with Diana Ross. The book, coincidentally written by Gordy, paints him as a benevolent, if not slightly arrogant, visionary, with the best interest of all involved at heart. Given than Gordy chooses to paint himself in a fairly favorable light, I was surprised that he included one particular scene set in Paris (you'll know it when you see it).
As Gordy, Clifton Oliver displays the charisma that a man of Gordy's stature must possess. His performance is not revelatory, but, as it is written, I'm not sure that he is given enough opportunities to be more than the story's caretaker. However, in his 11 o'clock number, "Can I Close the Door," for the first time Oliver is able to dive headfirst into dramatic, if not lightly overwrought, material to deliver a standout performance.
The story of Motown would not be complete without some of its biggest stars. As Ross transforms from a 17-year-old Supreme with big eyes into the diva we know today, Allison Semmes imbues her with a touching vulnerability. In the later scenes in which Ross is performing as a solo artist, Semmes does seem to especially embody Ross' real-life voice and demeanor; though the show suggests that this is a character for Ross as much as it is for Semmes.
Unfortunately, it was difficult to hear Oliver and Semmes at times. Often when they sang, it seemed like the mix had them much lower than the music and backing vocals. Other than that, and some early feedback, Opening Night went off without any noticeable technical hitches.
Jesse Nager is very strong as Gordy's right-hand man Smokey Robinson, though I wish he would have had an opportunity to sing more of Robinson's hits; and Jarran Muse provides one of the show's most emotionally poignant performances as Marvin Gaye. Finally, Leon Outlaw, Jr. nearly stole Orlando's opening night performance as Young Berry, Young Stevie Wonder, and Young Michael Jackson.
With so many incredible, timeless songs that came out of Hitsville U.S.A., the sheer magnitude of the company's catalog can be overwhelming, so I understand why Gordy struggled to inject a story amidst the music. However, as it is, MOTOWN THE MUSICAL feels more like a revue built around a timeline, than a fully-realized musical. If the book had focused more on Gordy's life, or better yet, more on how Motown's music reflected and influenced what was going on in society at the time, the show would have carried a greater emotional resonance. As it is, the plot points fly by and are generally inconsequential to the fun being had on stage.
That being typed, the lack of a substantive story didn't affect my enjoyment nearly as much as it normally would, because of the infectiously fun music and the dazzlingly talented cast. Without a doubt, MOTOWN THE MUSICAL is a must-see show for all theatre and music lovers in Central Florida.
Hurry and get your tickets now by visiting The Dr. Phillips Center's website or by calling 844-513-2014; MOTOWN THE MUSICAL only visits the City Beautiful through Sunday.
Did you take the trip to Hitsville U.S.A.? What did you think of this feel-good musical? Let me know in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter. You can also chat with me about the show on Twitter @BWWMatt.
Photo Credit:
1) Reed L. Shannon (center) with the Jackson 5 | Joan Marcus
2) Patrice Covington (center) and Ensemble | Joan Marcus
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