Review: AIN'T MISBEHAVIN at Black Theatre Troupe

It is a spectacular thing to see performers execute an iconic show steeped in its history. It's even more spectacular when you reach those moments that allow you to feel like you were there solely based on the way the performers connect to the music and transport you to when it began. That is the case with the cast of Ain't Misbehavin' at the Black Theatre Troupe in Phoenix, AZ. This production pulled out all the stops to be true to the music of Fats Waller.

This was the second weekend of this production's 3-weekend run. Without giving the entire show away, Ain't Misbehavin' is a musical revue of some of Fats Waller's most iconic tunes. The show is performed by 5 vocalists that bring each song to life. Featured in this production was Trevell McElwee-Chapell (Black Nativity), Ronda Felton (American Idol), Shaniece Brazwell (Blacktinx AZ, Blacktinx LA), Cherylandria Banks (Sistas the Musical, Black Nativity), and Frederick Alphonso (American Son, In This Corner Cassius Clay). The cast does a masterful job pulling the audience into the music and allowing, as Director Walter Belcher coined, "Calgon... to take [us] always."

Patrons enter the theatre to a smokey set with staired levels backed by a bandstand. A lack of house music made for some difficulty setting the tone and the heaviness of the smoke that flowed out into the house caused discomfort to many of the patrons, made obvious with frequent coughing. After some time, the smoke dissipated a bit, the band found their places, the lights lowered, and we were prepared for a ride on the keys with Fats.

The entire cast is magnificent, but Frederick Alphonso stole the show. Alphonso is a Chicago-based creative that, based on his bio alone, is no stranger to theatre in the valley of the sun. The multi-hyphenated artist wasted no time wowing the audience with "Ain't Nobody's Biz-ness if I Do." However, his true show stopper of a song was "The Viper's Drag", with the stage flooded in green and hazed with smoke, in character with the song.

Cherylandria Banks takes the stage as a powerhouse in voice and presence. Banks' ability to capture the stage shines through in songs like "When the Nylons Bloom Again" and "Squeeze Me."

With her phenomenal dance background shining through, Shaniece Brazwell makes for a wonderful showwoman. This reads through in "Keeping Out of Mischief Now" and in the marvelously comedic "Yacht Club Swing."

Debuting at the Black Theatre Troupe, Ronda Felton is vocally magnetic. Her prowess is remarkably displayed between the contrast of a fun-loving song like "Cash for Your Trash" and the heavy-hearted "Mean to Me."

With his smooth and smokey voice Trevell McElwee-Chapell snatches the audience up, blending those vocals with his comedic talent. "Honeysuckle Rose," set the tone of intertwining stories and happenings as the show goes on. The moment is also a tell to several laughable moments throughout the show, including "Your Feet's Too Big" and "Fat and Greasy".

As an ensemble this cast is astonishing. Tight harmonies in songs like the haunting "Black and Blue" and fun moments like the hilarious "The Joint is Jumpin'" made for many anticipated moments. There was one piece that didn't seem to fully hit its mark, with "Handful of Keys" having given off the feeling of not quite clicking.

There were a few qualms however that stood out to me in this production. One of the first was multiple instances where actors would be performing in the dark. Many of these instances did not include choices that were obviously lower in light with intent and ultimately made for not only a distracted audience but also potential confusion to the actors on stage. Aside from the lighting, a much larger issue I had issues with sound. The superb band that sat above supporting the vocalists missed the mark purely from moments where the clarinet was simply unable to be heard, even during his solo. As well, there were instances where vocalists were hard to hear, a major issue to have for a musical revue. Most of the instances were found with McElwee-Chappell where, given his softer timbre, caused one too many missed moments.

Overall, Ain't Misbehavin' is a fantastic show. Classics such as these are essential when we think of the stories we wish to pass on to subsequent generations using the ultimate teacher of history, music. Ain't Misbehavin' runs until April 10th at The Black Theatre Troupe. Be sure to secure your seat for this magnificent show.

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