MOTOWN, THE MUSICAL
Remembering the fabulous time I had at the previous opening night of Motown, The Musical at Hollywood’s Pantages Theatre, I couldn’t wait to see it again. I can’t believe that was almost two years ago! Wow. It feels so much more recent than that.
Photo by Joan Marcus, as is the big one at the top of the page.
I was so grateful to be among the appreciative sold-out crowd on opening night to welcome this hit Broadway show back to Los Angeles. If we had perennial shows in this city, as Vegas does, I’m sure this one would run for years on end!
On top of all the joy that Motown, The Musical brings us, it’s also very socially relevant right now, with all the craziness that’s again going on in our country since the unfortunate inauguration of the madmen at the head of it. When some of the scenes of the United States’ shameful racial discrimination, and political unrest, were being portrayed on stage, I could hear many audience members muttering about it being like that again. Sad. The ecology anthem, Mercy Mercy Me, is especially poignant now. [*Note: In case you don’t know all the lyrics by heart, as many of us do, I posted them at the very bottom of this review.]
I had a different, much closer, view of the stage this time than I did the last, but I really did enjoy both renditions the same, surprisingly to me. Of course, I always like to sit closer to the stage, but I guess this proved to me that any seat in the Pantages is a good seat, as long as the show is a great one!
Allison Semmes and Chester Gregory, as Diana Ross and Berry Gordy, Jr. Photo by Joan Marcus.
Motown, The Musical is not just a revue of all the great Motown hits; the scenario is the story of how Berry Gordy, Jr. founded the record label, discovered all the now-iconic talent, and then struggled to keep it all going. It’s based on Berry’s1994 autobiography, To Be Loved, in which he’s pretty honest about a lot of things, including his complicated personal and professional relationship with Diana Ross. We fans always just heard the music, and never thought about the label’s troubles along the way. Everything just seemed so glamorous, which I’m sure is the way that Berry wanted it. So, this show is captivating on many levels.
Just be prepared that the musical is a bit long; they tried to get every little bit of history in there, if even for a few seconds. It’s worth it, though. I know that the audience I was in wouldn’t have minded if the show went on for another couple of hours! They were screaming for every “act” as though they were seeing the real people!
The portrayal of The Temptations. Photo by Joan Marcus.
I did get a tad choked-up at a small section which featured Rick James and Teena Marie. I knew them, (and even orchestrated a surprise on-stage reunion for them, and then missed it myself, which still bothers me to this day,) and I was also pals with the Temptations and Four Tops way back in the day; to realize that Rick and Teena and Ali Ollie Woodson and Melvin Franklin and Richard Street and so many other greats are gone now just got to me, in a big way. Those scenes of Motown, The Musical were more than a bit painful to me.
But it was still great to re-live their glory days. And it’s fascinating to see the back-stories of Berry Gordy, Smokey Robinson, Diana Ross, the Temps and Tops, Marvin Gaye, Stevie Wonder, and Jackson Five, among others. I think they got them all in.
The cast must be in heaven doing this show! They get to sing all those classics, and wear multiple fabulous costumes, by Emilio Sosa, as well.
Jarran Muse, as Marvin Gaye. (Duh!) Photo by Joan Marcus.
Speaking of the cast, I was thrilled to see Allison Semmes, playing Diana Ross, and Jarran Muse, as Marvin Gaye, back in this production again. Those two really embody those icons, and if I closed my eyes, or even squinted just a bit, I would swear that I was seeing the real people. Their portrayals, and voices, are spot-on! Jarran especially, totally captured the essence of Marvin. And when Allison does a bit of Diana’s iconic Vegas show, I’m here to tell you how exact she was. I saw that show several times, (and was even asked to open for her there, but that’s a weird story for another time,) and Allison was perfect. She really brought me back. (And since I was seated so up-close this time, I could barely take my eyes off her super-shiny fingernails! I love that effort, even though probably only about two of us will notice!)
Chester Gregory, as Berry Gordy, was also excellent, especially because he was on stage for ninety percent of the time! I don’t know how he keeps that energy up! He didn’t miss a beat. And you could tell he was loving doing it. How great is it when you can see that someone loves his or her job?!
The “Jackson Five,” with CJ Wright in the center, playing Michael. Photo by Joan Marcus.
Honorable mention must go to Elijah Ahmad Lewis as both Stevie Wonder and Jackie Wilson, Malcolm Armwood, who brought lots of comedic charm to his multiple roles, and CJ Wright as Michael Jackson and a young Stevie, who could possibly play Sammy Davis, Jr. as a kid prodigy one day, with a few more dance lessons. And also to the energetic guys who did a number as The Contours, which is when I finally really got into the show. I never even really knew of that group, but these guys brought the excitement.
Gabriella Whiting, Allison Semmes, and Tavia Rivee as the early Supremes. Photo by Joan Marcus.
There’s actually nothing not to like about Motown, The Musical. Everything about the show is just right; there’s not a dull moment in the almost three hours! The time just flies by. All the creative people involved really hit it out of the park.
The whole show is very well done. It’s pure happiness. There are literally no boring moments. It moves quickly from scene to scene, song to song. You know I love when shows go in chronological order, which this one does, outside of the very beginning. But I also appreciated that it begins with a tease of the now-classic Motown 25th Anniversary Show, to give us that “pow” opening. The opening night audience was into it from the very first note.
Judith Franklin as Martha Reeves. Photo by Joan Marcus.
And what a gargantuan undertaking Motown, The Musical is! There are over thirty cast members, who sign all or part of sixty Motown songs, (with a few new songs, that were written just for this show, thrown in,) eighteen scene changes, and a whole passel of wonderful musicians. Whew. These songs are all still great on the radio, but to hear them sung so perfectly, and with a live orchestra, is an incredible experience, one that my Souther California readers should not miss!!!
That’s why I’m a bit torn over what I’m about to say here: I know that with all these great oldies, people feel inclined to sing along. And, in a very few instances in the show, the performers, as their characters, encourage us to do just that, so those times it’s allowed (by me.) I always want everyone to have the most fun possible, but that includes moi. I was trying to enjoy the beautiful Broadway voices that my ears were privileged enough to hear, but instead, they kept getting drowned-out by the mediocre (and I’m being generous here) voices of the audience members who were surrounding me! This is a Broadway show, people—not a karaoke bar! Save your singing-along-with-the-Motown-hits for your cars, please!
In the center, lifelong besties, Berry Gordy, Jr. and Smokey Robinson. Photo by Karen Salkin.
Because it was opening night, there was a super-special curtain call, which included director Charles Randolph-Wright, Smokey Robinson, and Berry Gordy himself! I’m so glad those last two are still besties after all these years! And then, as some members of the cast came down the stage Soul Train-style, eighty-seven-year-old Berry got in on the action!!! That was pretty amazing to witness so up-close and personal. That man is ageless! (And he still has some moves.)
For a fabulous theatre experience, do not miss this show!!! (And, since it’s a National Tour, you might still get to see it, even if you don’t live in SoCal!)
Motown, The Musical running through February 12, 2017
Pantages Theatre 6233 Hollywood Blvd. 800-982-2727 www.hollywoodpantages.com
*Mercy, Mercy Me lyrics:
Whoa, as, mercy, mercy me
Oh things ain’t what they used to be, no no
Where did all the blue skies go?
Poison is the wind that blows from the north and south and east
Whoa mercy, mercy me,
Oh things ain’t what they used to be, no no
Oil wasted on the oceans and upon our seas, fish full of mercury
Ah, oh mercy, mercy me
Ah things ain’t what they used to be, no no
Radiation under ground and in the sky
Animals and birds who live nearby are dying
Oh mercy, mercy me
Oh things ain’t what they used to be
What about this overcrowded land
How much more abuse from man can she stand?
Oh, no no, na, na na, na
My sweet Lord, na, na, na
My Lord, my sweet Lord
