AIN’T MISBEHAVIN’
Three years ago, I saw Ain’t Misbehavin’ at the same location as I did this past weekend—the Nate Holden Performing Arts Center—and produced by the same company—Ebony Rep. I loved it then and I loved it again now! It’s a very limited run, so do not miss it! Very sadly for us Angelenos, there are only eight more performances!
(L-R) Chester Gregory, Marty Austin Lamar, Connie Jackson, Natalie Wachen, and Ledisi. Photo by Craig Schwartz, as is the one at the top of this review.
Because the production was perfect last time, I was happy to discover that almost nothing about the presentation, (once again directed by Wren T. Brown and choreographed by Dominique Kelley,) had changed, save for two new performers and one new musician.
The extremely talented cast is made up of returning artists Marty Austin Lamar, Connie Jackson, and Natalie Wachen, along with new members of the quintet, Chester Gregory and Grammy-award winner Ledisi, who will be appearing on Broadway in the Fall in the new musical Wanted, which is based on a true story of Black twin sisters who became outlaws in 1893. (I have got to see this one—it sounds like a movie I did years ago, Brothers in Arms, about a gang of Black outlaws in that same period! Don’t ask. But, yes, my character does get killed.)
Chester Gregory and Marty Austin Lamar. Photo by Craig Schwartz.
All five performers are beyond excellent, but my personal fave was Chester Gregory. When I saw him in Dreamgirls at the Ahmanson sixteen years ago, (wow—for both of us!,) I wrote, “The person who stole the show for me, though, was Chester Gregory as James Thunder Early.” And, with his nutty dance moves, especially in The Viper’s Drag, (aka The Reefer Song,) he did the same here.
The show itself, which won the 1978 Tony award for Best Musical, is wonderful. Ain’t Misbehavin’ is a “revue,” so there’s no story to it—it’s simply fabulous music and singing, with very clever movement and occasional special choreography, and gorgeous voices from the five-person cast!
It features the music of Fats Waller, along with songs by other composers and lyricists that were popularized by Fats. (He wrote the music for the classic title tune, of course.) On the way to the theatre on Saturday night, my friend Lisa told me that she’s not a fan of that genre of music, but wanted to go just to spend time with me. (Smart girl!) However, she wound-up loving the show! How’s that for an endorsement?!
The songs span 1922 to 1943. About half are well-known, with the rest being lesser-known tunes that are fun surprises. There’s a perfect mix of serious and comic songs, upbeat ones and ballads, and a few with creative dance moves. (The performers themselves are also a great assortment of voices, physicalities, and personalities.)
The whole Ain’t Misbehavin’ cast during the fun curtain calls. Photo by Karen Salkin.
In addition to the title tune, there are classics such as The Joint Is Jumpin’, Honeysuckle Rose, and I’m Gonna Sit Right Down and Write Myself a Letter, an experience I’ve actually lived. (The next lyric after the title is, “And make believe it came from you.” I actually used to do that exact thing as Mr. X in our first few years together! I was in charge of sending all the Christmas presents to his co-stars, and he told me to send myself what I wanted, as well. But I always made the “greetings” to me things like, “My dearest darling, I love you with all my heart!” And signed his name to them! And then kept the cards that arrived, in case I ever needed proof! Which I always do.)
The Ain’t Misbehavin’ Opening Night audience went nuts for all the numbers, especially the couple that we participated in, (such as the hilarious Fat and Greasy,) but there were two obvious hits of the night. First was the hilarious Your Feet’s Too Big, sung by amazingly light-on-his-feet Marty Austin Lamar. I love that song, possibly because that is something no one can ever say about me. (A masseuse once started laughing when she got to my feet, and explained that her mirth was due to my “cute little cartoon toes!”)
The audience went absolutely berserk for the musical’s very serious penultimate number, Black and Blue. The lyrics about racism are so powerful, and this cast really sold their meaning, in five-part harmony, to boot.
The on-stage band. Photo by Karen Salkin.
Since the show is all music, I must also give props to the on-stage musicians: Musical Director William Foster McDaniel on piano, along with returnees Land Richards, Keith Fiddmont, and Fernando Pullum, and newbie Weldon Scott. After the prolonged standing ovation from the very appreciative Opening Night audience, the classy among us even stayed until the band finished playing so we could applaud them on their own.
And I was happy to see the same set as in 2023, which was the last one designed by the late John Iacovelli. The setting of Ain’t Misbehavin’ is a cocktail party in a brownstone in Harlem during the Harlem Renaissance, and that’s exactly what we saw on stage. I actually can attest to how perfect the set is because I was lucky enough to see one real such place in New York when a friend inherited it from very old relatives who had kept it exactly as is. I could feel all that history coming from the stage.
The late John Iacovelli’s final set. Photo by Karen Salkin.
Lastly, I must give two auxiliary shout-outs: Ebony Rep has come up with the most beautiful and impressive programs ever! They’re true keepsakes. And the theatre itself has the most perfect sightlines. Even a man rocking a big hat did not annoy me! (Much.)
To sum-up, this latest rendition of Ain’t Misbehavin’ is an uber-worthwhile evening (or afternoon) of theatre. So I highly recommend it to everyone. And remember, there are only eight more performances, so do not drag your feet, “too big” or otherwise, on this one!
Ain’t Misbehavin’ running through June 8, 2026
Nate Holden Performing Arts Center
4718 West Washington Boulevard Los Angeles
323-964-9766 www.ebonyrep.org
