Review: MOTOWN Moves and Grooves at the National Theatre

The ultimate question with Motown the Musical is not whether you'll like it, but how many songs it takes before you're moving and grooving in your seat at the National Theatre. With an abundance of classic hits, the answer is not too long.

That's not to say that the show is without its problems. If you're ranking it amongst other jukebox musicals, it comes in below Jersey Boys and Beautiful: The Carole King Musical. That didn't stop this reviewer and the audience from having fun, however you leave the theatre feeling rushed as a result of Berry Gordy's flimsy book and need to cram so many standards into one show.

Motown is based off of Gordy's 1994 autobiography To Be Loved and told as a flashback. When the show opens, Gordy (Josh Tower) is debating whether to attend Motown's 25th Anniversary Special, feeling burned that many of the artists he discovered left him for other record labels. Gordy then recalls his childhood in Detroit and the story of Motown records.

With Jersey Boys or Beautiful you got to learn the story behind some of pop music's biggest voices; with Motown they sadly only receive a passing mention. Very little is made about how the label worked hard to discover, recruit and develop artist's talents and image. These artists include the likes of Mary Wells, the Commodores and Four Tops. Diana Ross (Allison Semmes) is really the only singer whose story receives full attention with Smokey Robinson (Jesse Nager) and Marvin Gaye (Jarran Muse) playing the supporting characters.

Additionally, Gordy's book suffers from an embarrassment of riches which is the Motown catalogue. Whereas most musicals have anywhere from a dozen or so songs, Motown has 59 songs. Yes, 59 songs. Almost all the songs are performed in snippets or brief medleys. As a result, you're never able to fully enjoy a song or learn how the Motown sound developed. That's a shame because the music is phenomenal and an essential part of America's cultural fabric. It deserves better treatment.

That's not to say that even in their truncated version you won't enjoy the songs. This energetic, multitalented cast will make sure of that. Semmes dazzles as Ross capturing her vocal and personal style. She's able to wow the audience with "Reach Out and Touch" by literally having the audience join in hand-in-hand.

As Gordy, Tower serves as the show's narrator and sometimes villain. Motown doesn't shy away from the lawsuits and artist disputes that filled Gordy's career, but we get the sense that some events have been sanitized. Still, Tower does a solid job and you really feel for Gordy's desire to build a family of artists. "Competition breeds champions," he tells Robinson. That desire leads to Tower's deep and emotionally resonant "Can I Close the Door" when he's contemplating selling the label. Robinson is Gordy's most loyal friend and also provides the comedic relief thanks to Nager.

Muse is charismatic and versatile as Gaye. He serves as Motown's conscience by being the strongest advocate to use the music as an agent of social change during the tumultuous sixties and seventies. The culmination of this was Muse's simmering and soulful rendition of "What's Going On" following Dr. King's assassination and the war in Vietnam.

Motown's extensive set list gives this cast a chance to dazzle, and the most impressive is Leon Outlaw, Jr. as a young Michael Jackson. Outlaw is a born entertainer and his "ABC" is magnetic.

Charles Randolph-Wright's direction combined with David Korins' projection-heavy scenic design and Natasha Katz's lighting design creates a slick and stylish production. The pace matches that of Gordy's ambition to build a record company that would change the music industry forever. An additional jolt of energy is provided by the choreography of Patricia Wilcox and Warren Adams which channels Motown's signature moves.

Ethan Popp's music supervision and arrangements deserve credit for the show's success by recreating the Motown sound. Part of the joy of attending Motown is trying to identify the songs by their hooks and riffs.

Wednesday's opening night crowd received an added bonus with Gordy being in attendance. At the curtain call he took the stage to say how much he treasured Washington and the shows he attended in his younger days at the Howard Theatre.

While the show's book may lack depth, there is enjoyment to be had. You'll leave the Motown doing two things: humming your favorite tune and making a list of what songs you need to download from iTunes when you get home.

Runtime two hours and 40 minutes with one intermission.

Motown the Musical runs thru January 3rd at the National Theatre 1321 Pennsylvania Ave NW, Washington, DC 20004. For more information and to buy tickets please click here or call (202) 628-6161.

Photo: Krisha Marcano, Allison Semmes and Trisha Jeffrey. Credit: Joan Marcus.

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