BWW Reviews: High-Energy MOTOWN THE MUSICAL Entertains O.C. with Non-Stop Hits

Wondering what it's like sitting in the audience of the national tour production of MOTOWN - THE MUSICAL, now on stage at Orange County's Segerstrom Center for the Arts in Costa Mesa through June 28?

Well, if it's anything like my enjoyable second helping of the touring show---which I first experienced at its star-studded L.A. Opening Night last month at the Pantages Theatre in Hollywood---then you're in for quite an entertaining, pumped-up, high-energy extravaganza... one that may also trigger (whether you want it to or not) the performing bug from your neighboring audience members.

But, I suppose, to be fair... if this was just another typical book musical, then that sing-along vibe may not be elicited so easily here (and, for your sake, I pray you get people sitting behind you that have relatively good pitch or can sing quietly under their breath, because I, for one, was not so lucky at a recent Thursday evening performance at SCFTA).

MOTOWN - THE MUSICAL is, after all, an excellent example of a "jukebox musical"---those unabashedly nostalgia-baiting stage shows usually packaged with familiar music from one genre, era, or artist for its score, while moving along not-so-secretly disguised as musical theater. Since that's essentially the case here, the show---if you haven't already guessed from the title---must be the solar giant of all jukebox musicals!

A dazzling, high-octane extravaganza of music and dance, the Tony-nominated show is a visual and aural feast that gamely crams in more than 60---yes, 60!---bonafide hits from the groundbreaking record company's staggering discography... making MOTOWN - THE MUSICAL arguably the biggest, most universally-known collection of hit songs ever gathered together for one show. With all these beloved tunes blasting in and out from top to bottom, triggering a little enthusiastic sing-along from some audience members is to be expected.

Most savvy theatergoers, however, typically have lowered expectations when it comes to jukebox musicals in general. While, of course, there certainly have been notable exceptions over the years that have surprised and have even delighted both audiences and critics alike, on the whole, most jukebox musicals appear as though they are more motivated by the commercial lure of familiarity---an easier, less risky feat than, say, what an original, created-from-scratch musical may entice. Thus, on the surface, it seems that the mere existence of a memorable songbook is a good enough reason for a show to exist in the first place...who cares how effectively-told its accompanying story may be?

Which is why I am slightly (but only slightly) torn about this show.

Sure, that amazing Motown catalog---featuring hits from the likes of Stevie Wonder, The Supremes, Marvin Gaye, The Four Tops, The Jackson 5, and many more---certainly qualifies as a great jumping-off point for a big musical. I admit it, just from the list of songs alone, I'm already hooked right in. But while I am completely over-the-moon with this rousingly entertaining, exuberantly-performed stage spectacular (the cast performances alone are worth the price of a ticket), the way MOTOWN - THE MUSICAL's narrative itself is handled feels a little forced. All told, the whole thing comes off more as a first-rate concert re-creation rather than a typical book musical (in which the songs exist in service of a fully-realized story rather than the other way around).

Not that there's anything wrong with that (well, in most instances, anyway)...because, in the end, this made-for-mass-appeal stage musical about the founding of one of America's most successful independent record labels succeeds in its ultimate goal: entertaining the audience while at the same time reminding everyone of the significant legacy of these iconic songs.

Yes, for nearly three vigorous hours, MOTOWN - THE MUSICAL provides one helluva show, packed to the brim with incredible, history-defining songs that span decades into Detroit's ubiquitous record-making machine. Much like the cheerful, enthusiastic crowds at both the Pantages in L.A. and at the Segerstrom Center, I, too, got swept up in the electricity of hearing awesome hit after awesome hit. These songs have not only been a huge part of my own musical education growing up, they also prompted my own deep, personal love of soul and R&B music.

So it's no surprise, then, to say that for many (including myself), the Motown songbook is the true star of this particular showcase, especially when staged and sung in such rapid succession in this manner. Song after gloriously-sung song, you can't help but feel awed by the undeniable, hit-making prowess of Motown founder and artistic impresario Berry Gordy, here played with convincing swagger and likability by Julius Thomas III.

Not only is Gordy responsible for creating and curating some of history's most beloved pop and R&B music, he is also responsible for personally nurturing the careers of the talented artists that performed these hits (and, apparently in Diana Ross' case, she received extra special personal nurturing). His record label and the music it churned out not only forever altered the face of popular, chart-topping music, but Motown itself also helped usher a signature sound that had universal, "crossover" appeal that broke through radio stations that have long denied them airplay. Plus, it's hard to refute this music's large role in the advancement of civil rights, too.

MOTOWN - THE MUSICAL---for all intents and purposes---is one enjoyable greatest hits compilation come to life, armed with spry staging by director Charles Randolf Wright; lively choreography by Patricia Wilcox and Warren Adams; dazzling visuals by David Korins and Daniel Brodie; superb retro costumes by Esosa; spirited orchestrations by Ethan Popp and Bryan Cook; and an ensemble cast that's about as talented as you can possibly assemble on one stage.

Seriously, this amazing cast can sing anything. In their talented auspices, the Motown catalog is as truly alive and vibrant as ever---a great blending of vintage sounds with hints of modern delivery.

As aggressively entertaining as it is, though, this jukebox musical does have one minor weak spot: its uneven book, credited to Gordy himself (with assists from David Goldsmith and Dick Scanlan) based on Gordy's own memoir To Be Loved: The Music, the Magic, the Memories of Motown, which recounts the history of his label from its early beginnings up until its 25th Anniversary celebration. As one would expect with a self-penned story, the narrative gospel herein is a personally-approved version of Gordy's story, told from his own perspective and his perspective alone---much like a carefully-crafted press release.

Thus, in the show's ultimately flattering, very pro-Gordy storyline, we're allowed to see an interesting, albeit perhaps a tad filtered look into his life, which does include rushed interactions between him and some of his lauded artists such as close pal Smokey Robinson (the charmingly winning Jesse Nager), the apparently too-madly-introspective Marvin Gaye (the lovely-voiced Jarran Muse), and, yes, even tiny pre-pubescent Michael Jackson (played by terrific 14-year-old Reed L. Shannon at Thursday's performance, who pulls triple duty as not only young MJ but also young Gordy and young Stevie Wonder).

And, of course, we even get to see glimpses of his romantic entanglement with the one and only Diana Ross (the stunningly mesmerizing Allison Semmes). The Supremes' charismatic lead singer-turned-solo superstar gets almost equal stage time as Gordy (a wise decision), as the show attempts to present a portion of their passionate, sometimes contentious, and, ultimately, highly-productive and highly-lucrative relationship. Whenever both Semmes and Thomas appear together on stage, the spark between them is palpable---even during a surprising and hilariously self-deprecating moment that has Gordy, um, not quite able to give his all during a sexual encounter with Ms. Ross.

But, alas, the stories weaved into this musical, in all honesty, only seem to serve as a contextual means to operate the show's non-stop conveyor belt of chart-toppers---some fully staged like stand-alone show-stoppers; others, just touched on for a brief moment. Well, that seems like a fair compromise: after all, how else would MOTOWN - THE MUSICAL be able to give due diligence to more than 60 hits, plus three original songs penned especially for the musical... all within its already lengthy running time?

Right out of the gate, MOTOWN - THE MUSICAL bursts with a musical explosion, and hardly ever slows down, as we observe some of Motown's reunited supergroups having a "friendly" vocal battle among themselves while in rehearsal at the Pasadena Civic Auditorium for the taping of Motown's now infamous 25th Anniversary TV special. It seems that even after all these years, these accomplished singers still follow Gordy's old adage that "competition breeds champions."

Across town, Gordy himself appears troubled. Soon various underlings, including producer Suzanne de Passe (Krisha Marcano) and the feisty Edna Anderson (Patrice Covington), try to convince him to leave his office and make an appearance at the taping of the TV show honoring his legacy. Gordy refuses. Why?

In flashback, the story transports the audience back into Gordy's past---first as a child fascinated by adults enjoying music (and boxing), then later, as an up-and-coming songwriter (he wrote a hit for Jackie Wilson that got his foot in the door of the music biz). Eventually, he brazenly forms his record company (with seed money begged from family), with some cheerful support from his velvet-voiced best bud Smokey. His primary aims: to nurture every aspect of his artists---from their songs and their choreography, to their costumes and venues; and, most importantly, to force his talented stable of African American artists to break into white radio playlists, instead of just relegating their songs under the same derogatory label of "race music." The success certainly wasn't overnight (well, almost), but its long-lasting impressions are still, obviously, quite profound today.

As the musical moves forward, we are treated to a rapid-fire succession of well-known Motown hits, from their early groups' songs including "Shop Around," "I Can't Get Next To You," "Please, Mr. Postman," to "My Girl," "I Can't Help Myself," and "Dancing in the Street." Every conceivable musical entity that came from Motown seems present: Martha and the Vandellas, The Marvelettes, The Four Tops, The Temptations, The O-Jays, Stevie Wonder, The Jackson 5, Gladys Knight and the Pips, The Commodores, Rick James, and, yep, even Teena Marie!

Along the way, the music Gordy champions later becomes the soundtrack to civil rights struggles, the wars at home and abroad, and the growing fight at home against poverty, inequality, and oppression. Then much later, after years of proven success, Gordy must also contend with a new threat: disgruntled artists and writers willing to jump to another label for more lucrative deals and paychecks---leaving him fewer loyal people to count on (which we later learn is huge a part of why Gordy is hesitant to go to the 25th Anniversary taping).

Also developing, lest we forget... the budding romance between svengali Gordy and his gorgeous muse Ross. She's determined to be a star and he's extremely invested in making it happen... even if it means bankrupting Motown.

This careful attention given to Gordy and Ross' romantic and business relationships certainly gives the show a little more narrative heft, but, again, in MOTOWN - THE MUSICAL, it's really, truly all about the music, baby. Musical highlights include Gaye's piercingly heartfelt "What's Going On" that closes the first act, the joyfully romantic "You're All I Need To Get By" duet between Gordy and Ross, the recreation of the rousing "ABC" and later the touching "I'll Be There" both by the Jackson 5, and, yes, a good ol' audience participation/sing-along that had Semmes (as Ms. Ross in full Vegas-y goodness) going into the audience---as Ms. Ross actually did during her Frontier Vegas act---to have random audience members sing "Reach Out and Touch" with her. (Side note: remember the loud, pitchy audience members I wrote about at the top of this review? Well, they pretty much ran to the front of the theater to sing with Ms. Ross during this bit)

Throughout the concert---er, I mean musical---the show doesn't allow for one single musical lull. The show is so lively that even the sets and projections feel like they're doing choreography, too! But among the many things the show does accomplish successfully, MOTOWN - THE MUSICAL in particular gets the nostalgia exactly right, framing each number with visually recognizable, era-appropriate aspects about the artists singing each song (the fast pace of each song's allotted timeslot, though, leaves little room to really know much deeper details about the artists being featured).

If anything else, this stage musical is one exceptional impersonator showcase---a hundred notches better than anything you'd see in a Vegas showroom. Aside from Muse's believable Gaye, Nager's adorable Smokey, and Semmes' stunning, eerily accurate turn as Ms. Ross, other notable standouts include Patrice Covington as Martha Reeves (sang!), Elijah Ahmad Lewis as Stevie Wonder, and Doug Storm as the scene-stealing, comically-exaggerated Ed Sullivan.

Overall, MOTOWN - THE MUSICAL is a fun and frivolous party that you will no doubt love---at least for its undeniable musicality delivered by this incredible, top-tier cast of quintuple-threats. Despite a few groan-inducing pieces of dialogue that feel like they've been dispensed from fortune cookies, the show is a thrilling trip down memory lane filled with one show-stopping number after another that will have have grooving along to the beat.

I mean c'mon... how can you not enjoy a night of these amazing hits?

Follow this reviewer on Twitter: @cre8iveMLQ

Photos from MOTOWN - THE MUSICAL National Tour by Joan Marcus. Portions of this review reflect both the Los Angeles and Costa Mesa stops of the tour.

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Performances of the first national tour of MOTOWN - THE MUSICAL at Segerstrom Center for the Arts continue through Sunday, June 28, 2015. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa.

For tickets or more information, visit SCFTA.org.

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