Red Hot
The Prince Music Theater's Ain't Misbehavin', a revue of some of Fats Waller's best material, is chock-full of singing, dancing and rip-roaring energy.
As Fats Waller would say, the joint is jumpin.' And boy, is it ever. The Prince Music Theater's Ain't Misbehavin', a revue of some of Waller's best material, is chock-full of singing, dancing and rip-roaring energy.
Much of the time, that's a good thing — though, especially in the first act, I had moments where the cast's unrelenting high spirits and overdrive paradoxically tuckered me out.
Let's go with the good stuff first. This includes a cast of six talented performers, a superlative band led with verve by pianist/music director Eric Barnes, and great-looking scenery (by Todd Ivins) and lighting (Shelley Hicklin) that perfectly suggest a pre-war nightclub. You'll love the marvelous period clothes, too (Mark Mariani). Director Richard Parison Jr.'s staging is fast and fluent. Most of all, there are those amazing Waller songs: "Honeysuckle Rose," "T'Ain't Nobody's Biz-ness If I Do," "Keepin' Out of Mischief Now" — the list goes on.
You want specifics? Try Eugene Fleming, curling himself — vocally and physically — around "The Viper's Drag"; the adorable Chanta Layton, blazing away in "Cash for Your Trash"; and Ken Prymus's slyness in "Your Feet's Too Big."
These are all Big Moments. The double entendre was a Waller trademark, and Misbehavin' is loaded with them. They're all given the full-scale wink-wink treatment, and that's part of my problem with the first act — too much of the same kind of material, all delivered for maximum impact.
Perhaps it's why I preferred the second act, which has some lovely quieter moments, including a beautiful ensemble performance of "Black and Blue." For me, the highlight is Melba Moore singing "Mean to Me." It's no secret that Moore has been in show business since the 1960s, but you simply won't believe it. At times, she looks and sounds exactly as she did when she won America's heart — and the Tony Award — playing Lutiebelle in Purlie. Here, beginning the song without much decoration, her honesty and power truly shine. (At other points in the show, Moore seems mystifyingly detached.)
Bottom line: Even when the show tries too hard, Ain't Misbehavin' is full of goodwill and great material, and the Prince production will keep you tapping your toes for several weeks.
Ain't Misbehavin'
Through Dec. 31, Prince Music Theater, 1412 Chestnut St., 215-569-9700
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