BWW Reviews: MOTOWN:THE MUSICAL at Shea's Performing Arts Center

MOTOWN Shimmers and Struts at Shea's
by Michael Rabice

When brainstorming concepts for new shows, the idea of making a musical about Berry Gordy--not necessarily a household name, may have seemed like an odd choice. So let's look at Plan B....a musical about the careers of Diana Ross, Smokey Robinson, Michael Jackson and Marvin Gaye. Well, essentially the two are all the same musical. The slick production of MOTOWN: THE MUSICAL that opened on Tuesday night at Shea's tells the story of producer Berry Gordy and his start up record label, 'Motown.'

Set up as flashback, we learn of a young boxer from Detroit who had dreams of writing and producing music. He enlists family, friends, and artists to help him financially and artistically start a fledgling record label in small house named 'HITSVILLE, USA.' What ensues onstage is a 25 year reunion of all the talent Gordy discovered and nurtured throughout his career. What makes this 'juke-box musical' so unique is how book writer Gordy chooses to incorporate his catalog of music into the story. Instead of shoe-horning songs in to fit a script concept, the majority of his hits are presented by the actual performers, as their music rose to the top of the charts. We are treated to a quarter century of music including 'Baby I Need Your Lovin,' 'Heard it Through The Grapevine,' 'I Hear a Symphony,' 'Please, Mr. Postman,' 'Shop Around,' 'Super Freak,' and 'Mercy, Mercy, Me,' to name but a fraction of the over 50 songs heard in this knock out musical.

So when an understudy is listed as playing the lead role, one tends to groan and expect the worst. This was definitely not the case for Jamarice Daughtry, playing Mr. Gordy. He inhabited the role with complete ease and confidence, to say nothing of his powerful vocals. Daughtry commanded the stage, fighting for his musicians and artists, against a backdrop of political unrest throughout the tumultuous Civil Rights movement. We see Gordy's struggle to be accepted as something more than a producer of so called ' black music.' His artists were relegated to black clubs as well as black radio stations only. When the Motown Artists slowly made their way into white venues, it is clear that segregation was at the forefront.

While it is obvious that there were other notable black artists represented by other labels, if you were lucky enough to be represented by Motown, your career was surely set to jettison. As the decades pass, we learn that it becomes increasingly difficult for an independent record label to survive, as various artists leave Motown for more lucrative deals. Gordy's struggling company appeared on the edge of collapse, but due to pleas from his family and performers, Gordy decided that it was time to look for new talent. Later career discoveries include The Commodores and Stevie Wonder.

Allison Semmes played Diana Ross. Her voice may not have been as powerful as the living legend's, but she was every bit as sexy and sultry as you would want her to be. She ventured into the audience to find a would be volunteer and had a gentleman from Hamburg weak in the knees--- Semmes proved she had the requisite charisma needed for the role. Diana's gradual rise from lead singer of the Supremes to solo star was a key part to the story, as we learn that she was Gordy's lover for many years.

Young Michael Jackson (Reed L. Shannon) appeared to be an audience favorite and rightly so. He had all the Jackson moves, while having a voice that was almost as remarkable as Jackson's own at that young age. Jarran Muse, as Marvin Gaye, had the sultry sound down, and drew applause with his drop dead falsetto. Jesse Nager is Smokey Robinson, one of Gordy's first discoveries and life long friend.

Western New York was well represented with the character of Buffalo's own Rick James (Rashad Naylor) making a brief appearance, to the glee of the audience. And Orchard Park native Devon Goffman was a member of the busy ensemble..

The talent in this high tech first national touring production rivals any that you may have seen on Broadway. It seems unfair to call any of the company merely an ensemble member, because they are called on to play multiple characters, as well as an occasional backup singer. The cast was full of contagious high energy in their dancing, which spans 4 decades. Choreographers Patricia Wilcox and Warrren Adams rose to the challenge of showcasing each artist, while differentiating the various dance styles of the eras .

The entire production, directed by Charles Randolph-Wright, was extremely fluid, often highlighting songs front and center to tell a story and other times to serve as background to an important dramatic scene. The scenery by David Korins was as choreographed as the dances- sliding effortlessly in all directions on the stage. Daniel Brodie's projections were especially effective in the psychadelic sixties.

I can't begin to estimate the hundreds of costumes (by Esosa) in this production. Diana Ross's gowns are intricately detailed and stunning, while the number of matching flashy suits worn by the male ensemble vary by decade with appropriate flairs, bell bottoms and shimmer. We were treated to a virtual runway of clothing, ranging from everyday garb of the period to couture dresses and gowns. Quick changes are obviously the norm in this superbly designed production.

The Broadway production closed this week after a successful run of 738 performance and plans to re-open in 2016. Meanwhile, a London production is in the works. MOTOWN reminds us how much of Gordy's music is built into the fabric of American culture. It is a unique situation where a record label is synonymous with a style of music. Motown ranks equally as important as jazz in representing uniquely American musical genres. This tour should not be missed and is sure to leave you in awe of the talent that made this historic story, as well as the talent on stage.

For tickets (from $33 - $78), call 1-800-745-3000, go to www.ticketmaster.com or the Shea's Ticket Office, 650 Main Street, Buffalo. For groups (15+), call 829-1154. Information: www.sheas.org

Performances are Tues. - Thurs. at 7:30 p.m., Fri. at 8 p.m., Sat. at 2 p.m. and 8 p.m. and Sunday 2 p.m. and 7 p.m.

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