Review: AIN'T TOO PROUD: THE LIFE AND TIMES OF THE TEMPTATIONS at Golden Gate Theater, San Francisco

The jukebox bio-musical Ain't Too Proud: The Life and Times of The Temptations is both tribute and honest take on the price of fame and fortune in the lives of the groundbreaking vocal group who together formed one of the greatest singing groups of all time - The Temptations. The fast-paced and smart book by Dominque Morisseau is beautifully brought to life by director Des McAnuff, who works in perfect sync with choreographer Sergio Trujillo to create a story that is both intimate and electrifying. Playing now through December 4, 2022, Ain't Too Proud is a must-see, top of the charts production.

The story is narrated by Texarkana-born "Temps" member Otis Williams (Marcus Paul James) 2nd tenor) who, for various reasons, moved to Detroit as a teen and quickly finds himself on the wrong side of the law. He's told that in Detroit, you either sing or become part of a gang. Luckily for the world, the man behind the Temptations chose singing, which would end up being not only his salvation but his lifetime calling.

Soon enough he forms a band with school friend, Melvin Franklin (Harrell Holmes Jr.) whose rich bass voice is "lower than the devil's," baritone Paul Williams (James T. Lane), Eddie Kendricks (Jalen Harris captures his falsetto perfectly) and Al Bryant (Brett Michael Lockley), the one initial member who didn't last. As Otis says, "Sometimes the 'temp' in Temptations meant 'temporary.'"

David Ruffin (Elijah Ahmad Lewis is extraordinary) replaced him as the final member of the original group. His voice would end up being the secret sauce the Temptations needed, inspiring Smokey Robinson (a spot-on Lawrence Dandridge) to write some of their biggest hits like, "My Girl," "Get Ready," "Since I lost My Baby," and their first hit, "The Way You Do the Things You Do."

Behind it all is kingmaker Barry Gordy (Michael Andreaus) whose mantra of "quality control is my secret weapon" and his insistence on clean-cut images, eventually made them all stars. Scenic Designer Robert Brill wisely lets marquees tell the story of the Temptations' rise to stardom. They start out opening for The Supremes (Amber Mariah Talley channels Diana Ross while Shayla Brielle G. and Traci Elaine Lee shine as Florence Ballard and Mary Wilson, respectively) but in short order the Temps are performing on their own all across the world and the marquees bear witness to their growth. And whether the Temptations are on stage, in the studio or hanging out in Barry Gordy's Motown office, Howell Binkley's lighting design showcases the stars even in their darkest moments.

Though Ain't Too Proud follows in the footsteps of other jukebox bio-musicals like Beautiful and Jersey Boys, the show must, of course, deal with racism, and in their case, the death of Martin Luther King, Jr. Here, Brill's use of larger-than-life photo stills of King's funeral bring us into the moment and it is extraordinarily disturbing that the rampant racism of the 60s is still with us today.

Ain't Too Proud is a wonderful story of resilience in the face of personal tragedies as well as sacrifice and determination. As Otis reminds us, "the only thing that lives forever is the music."

Ain't Too Proud: The Life and Times of the Temptations
Now thru December. 4, 2022
Book by Dominique Morisseau
Music and Lyrics from the Legendary Motown Catalog
2 HRS 30 MIN including one intermission
Golden Gate Theatre
www.broadwaysf.com
Photo courtesy of Emilio Madrid