BWW Previews: MOTOWN: THE MUSICAL at The Playhouse

Aside from the joy of living one's dream with a national tour, MOTOWN: THE MUSICAL is a production of historical consequence. The actors in the present touring production landing at The Playhouse May 1-6 understand its significance and the honor bestowed upon them.

Yes, it is a jukebox musical (about 50 tunes). But whoa, what an Olympian archive of our times.

Kids in the '60's (me included) were munching burgers, scarfing down Kitchen Sinks and squealing to friends in adjoining booths at The Charcoal Pit. We spent a month's allowance stuffing the table jukeboxes with nickels and dimes regaling in the mellifluous harmonies and easy to learn lyrics of Motown.

Then, on Saturdays, there was the Aldersgate (Church) Canteen, the dee jay flinging the 45 rpm singles (google it, bro) while youthful estrogen (on one side of the hall) and raging testosterone (on the other side) stimulated the most erratic, discombobulated jitterbugging in New Castle County.

Whenever Smokey Robinson's "Shop Around" was played, I for one was the ultimate (not-so-silent) shopper.

MOTOWN: THE MUSICAL is based on Berry Gordy's autobiography To Be Loved: The Music, the Magic, the Memories of Motown, the history of his founding of the Motown label and his personal relationships with its glorious array of entertainers. In Gordy's liner notes, his sardonic comment stated this was his resume and rap sheet replete with both storm clouds and silver linings. What a life!

Berry Gordy, Diana Ross, Smokey Robinson, The Jackson Five, Marvin Gaye and others inspired a generation and beyond. The music moved the world. The Playhouse audience will likely be familiar with every nuance of phrasing from this legendary catalogue, perhaps the deepest and most 'supreme-ist' in music history. Certainly, the easiest to dance to!

Aisle Say saw the show last year at The Kimmel. A powerhouse performance. I had the opportunity last week to speak with Kenneth Mosley, playing the Berry Gordy role. Effusing over last year's production I asked if it were the same one. "Yes. A different cast but same show". That comment is more than sufficient for all of us to look forward to this one.

Gordy himself was the final decision maker on casting. Not only must they look somewhat like a Diana Ross, a Marvin Gaye, a Smokey Robinson, but they must sing like the performer as well. I recall closing my eyes at The Kimmel. From my teenage memory bank, every high note, every low note, every precise dance movement, every scintilla of the way the song was delivered by the original recording synched.

This sojourn into American musical history also serves as a celebration of the music that brought America's black and white populations together in a way nothing else ever did. Gaye's "What's Goin' On" is an avatar. The lyrics are intimately tied to the assassination of MLK. Would that event kill this great man's vision? Would it halt the process? Where do we go from here? That one song made us all consider what was next. As Mosley says, "Marvin was hope".

I asked if the audiences differ in the cities on the tour. Mosley replied that "this is a study in demographics. The smaller towns are 'more polite' and reserved. The larger ones are more exuberant and ofttimes sing along". We will see what happens in Wilmington but I am voting for the latter.

Rarely have I seen such dollars put into costuming. Recreating Diana's iconic costumes must have cost tens of thousands. "Well", said Mosley, "people remember her glamour. We would not have done justice to the memories if we cut costs there." Costuming is a huge part of this show.

There is tension in the dialogue. Berry, to understate, was a control freak, argumentative, and - what eventually was to lose him his stable of superstars - an Ebenezer Scrooge negotiator. Ross, Gaye and The Jacksons left his employ as they were offered better contracts with other houses.

Regarding the shows drop dead showstoppers, Mosley suggests, "there are two kids who play Michael Jackson when the Jackson Five perform. Their performance always gets the audience going. Also, Diana went into the audience every time she sang, "Reach Out And Touch Someone". Our Diana does that as well. Some of the interchange between Diana and the citizens she reaches out to bring tears".

So, dear readers, at least for 6 days, The Playhouse affords us the opportunity to 'return to those thrilling days of yesteryear', 'that brief and shining moment' when (as opposed to the tumult of today) we kinda/sorta knew what the next day might bring. Get ready to reminisce.

May 1 - May 6 The Playhouse 302.888.0200

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