Review: MOTOWN THE MUSICAL at Saenger

There are more than 40 songs packed into the jukebox hit machine of MOTOWN THE MUSICAL, the latest show to hit the Saenger Theatre stage. That's a lot of quarters.

The show will have you humming and bobbing to tunes in your head, such as the sentimental hit from the '70s "Reach Out and Touch" by Diana Ross along with her great hits from her days as a Supreme including "Baby Love" and "Stop! In the Name of Love."

MOTOWN THE MUSICAL has Allison Semmes to thank for that. With a voice that has a sweet velvet quality, Semmes' interpretation of Ross should receive top billing, but she is merely one star in this show's galaxy. The musical focuses primarily on the relationship of Ross with Berry Gordy, who is central to the story as the founder of Motown Records, one of music history's most iconic companies of all time.

Chester Gregory presents a human interpretation of the native Detroiter, whose family held a vote whether to fund his fledgling recording company. Sister Esther (Loren Lott) has her doubts, but the vote was unanimous, and Motown is born. The musical then follows the rise and fall of Motown, leading up to the famous NBC show "Motown 25: Yesterday, Today, Forever." It notes quickly that this is a reunion of a fractured family with its head Gordy a no-show for the night. Michael Jackson has embarked on his solo career. The hit songwriting trio of Holland-Dozier-Holland left Motown back in 1967. And during the tribute's rehearsal, the Temptations and the Four Tops try to out-do each other.

The soft-spoken Smokey Robinson (Jesse Nager) was with Gordy from the start and stands by him through it all even when the company has its ups and downs. With tremendous applause, each star of Motown should receive due credit for the fantastic evening of music and dancing. On opening night, J.J. Batteast electrified the show as a young Michael Jackson and the audience's laughter filled the Saenger over the antics of Elijah Ahmad Lewis as Stevie Wonder. As Marvin Gaye, Jarran Muse captures a passionate artist called to respond to the socio-political climate of the time, aided by Projection designer Daniel Brodie using compelling images from the 1960s. Other standouts include Martina Sykes as Mary Wells, one of the first acts to leave the Motown family; and Nik Alexander as producer Mickey Stevenson, the guy responsible for the in-house force of the Funk Brothers.

This talented cast hits the songs on every right note, which is a must given the audience's delighted reactions to the casts' delivery. MOTOWN brings forth the essence of its popular songs. If you were in the audience for MOTOWN, you were taken back to a day where songs like "Heard It Through the Grapevine" and "ABC" filled the radio airwaves. If there were a musical to see this season at the Saenger, it would be MOTOWN, which perfectly captures the power of these remarkable artists, the endless joy and force in Motown's indelible sound.

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