BWW Reviews: Black Rep's Production of FIVE GUYS NAMED MOE is Immensely Entertaining

It's only fitting that the original "King of the Jukebox", songwriter, musician and bandleader Louis Jordan, be honored with his own "jukebox" musical (featuring a well-crafted book by Clarke Peters). Five Guys Named Moe is a delightfully frothy concoction that takes its simple thread of a story and then lovingly drapes it in a wonderful collection of Jordan's finest songs. The Black Rep is currently presenting a dazzling and upbeat production (March 24 - April 25, 2010) that's immensely entertaining.

Nomax is a lovesick young man who's drowning his sorrows one night while listening to savory selections from the prodigious output of Louis Jordan on the radio, when an unexpected bit of magic occurs that allows five guys named Moe to actually appear in the flesh to offer their unique views and opinions on the subject of male female relationships. They decide to lecture Nomax through song, and this provides them with opportunity to cover a wide variety of Jordan's material in order to address issues related to Nomax's romantic shortcomings.

Drummond Crenshaw (Four-Eyed Moe), Herman Gordon (Eat Moe), Horace E. Smith (Big Moe), Gary Vincent (No Moe), and Sean Walton (Little Moe) do exceptional work tearing through the Jordan songbook with considerable enthusiasm and charm. Crenshaw amuses in a variety of guises, appearing in drag for "Messy Bessy", as well as a chicken suit for the hilarious song "Ain't Nobody Here But Us Chickens". But, in addition to providing plenty of comic relief, Crenshaw also performs a powerful rendition of "Azure Te". Sean Walton has a couple of nice moments as well, kicking his heels up during a sexy and loose-limbed version of "I Like "Em Fat Like That", and leading a propulsive run through "Choo Choo Ch'Boogie" Vincent is a model of lithe intensity as No Moe, and he conjures up an especially fiery (and self-choreographed) tap solo during "Reet, Petite and Gone". Horace Smith commands attention as Big Moe, and from the early warnings of "Brother Beware" to the crowd pleasing strains of "Caldonia", he anchors the ensemble. Herman Gordon is solid and consistent throughout as the perpetually hungry Eat Moe, and he gets his best chance to shine during the solemn number "Don't Let the Sun Catch You Cryin'".

Newcomer Anthony Tarvin, Jr. makes a nice debut with the company as Nomax, and though he seemed a bit ill at ease in the early scenes, he definitely appeared to relax as the show progressed. By the time they got to the conga line finish of the first act, and the buoyant strains of "Push Ka Pi Shi Pie", Tarvin looked like he was completely in his element. Tarvin has a pleasant and light vocal quality that's neatly showcased on the opening song "Early in the Morning" and "If I Had Any Sense", but he definitely needs to project his voice with more authority. Linda Kennedy makes a cameo appearance, or at least her voice does, emanating in smooth, silky tones from Nomax's radio.

This collaborative effort is sparked by the splendid work of director Ron Himes, musical director/pianist Charles Creath and choreographer Lazette Rayford-O'Brien who all contribute to make this an engaging and enjoyable experience. They're aided in their efforts by Chris Pickart's terrific scenic design, that recreates Nomax's table top radio as a set piece featuring the four piece band on top. Daryl Harris adds to the fun with color coded costuming for the various Moes, and Mark Varns does a good job lighting it all. Jo-El Williams (saxophone), Jeffrey Anderson (bass) and Leon King (drums) round out the band along with Creath, and all do outstanding work on this tuneful score.

The Black Rep's rollicking production of Five Guys Named Moe continues through April 25, 2010.

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