Theatre review: Ain't Too Proud's ode to The Temptations delivers grit alongside impressive song-and-dance numbers
Stories of racism, civil unrest, and drug abuse give this bio-musical a compelling edge
Ain’t Too Proud. Photo by Emilio Madrid
Broadway Across Canada presents Ain’t Too Proud at the Queen Elizabeth Theatre to September 17
“THE ONLY THING that lives forever is the music,” says the character of Otis Williams in the musical Ain’t Too Proud: The Life and Times of The Temptations, currently playing in Vancouver as part of its Broadway Across Canada tour.
But behind The Temptations’ music are compelling stories that not only recount the group’s journey, but also show the impacts that racism, civil unrest, substance abuse, and relationship struggles had. This bio musical is wrapped up in a dazzling package with visually-pleasing production values and tremendous song-and-dance numbers, but it isn’t a fairy-tale story. It dares to be raw and an unapologetic, exposing the dark side of The Temptations.
The show is directed by Des McAnuff and choreographed by Sergio Trujillo, the team behind another musical about an iconic male music group—Jersey Boys. Like Jersey Boys, Ain’t Too Proud impresses visually with glitzy concert-like lighting and sets, and stand-out performances of classic hits—in this case, songs such as “My Girl”, “Get Ready”, and “Papa Was a Rolling Stone”. But the stories themselves are vastly different from those in Jersey Boys, mostly because The Temptations started as five young African-American men coming of age during the Civil Rights movement.
Told through the eyes of Williams, whose memoir The Temptations served as the basis for this show, the musical charts the group’s formation, their growing pains, and their relationship conflicts both in and outside the group. Similar to Jersey Boys and other musicals based on true stories of stardom in the music industry, the struggle to balance family and romantic relationships with career is prominent. But this plot isn’t afraid to also dive down to the gritty and ugly, grappling with topics like drug use, domestic abuse, alcoholism, and suicide. Through the telling of this lived experience, we experience poignant and heartbreaking stories that drive home the theme of unconditional brotherhood.
On opening night, understudy Jeremy Kelsey stepped up to plate with a riveting performance as Otis, the backbone of the show. Despite the whirlwind of production numbers and activity onstage, Kelsey does a superb job of holding the narrative together, connecting personally with the audience. In the role of Paul, E. Clayton Cornelious is also outstanding, featured for his powerhouse dancing, including his ability to effortlessly nail multiple pirouettes, but also for his sensitive, touching portrayal.
Elijah Ahmad Lewis delivers a larger-than-life performance of David—a complicated character due to his abrasive personality and personal issues amidst his exceptional talent. Lewis brings all sides of his character to life, including the exceptional talent, thanks to his lungs of steel and impressive athleticism. Harrell Holmes Jr. is sweet as the loyal Melvin, with a bass vocal range to suit the role; and Jalen Harris has a striking presence as Eddie, who like Lewis, also delivers on capturing the depth of a complicated and troubled character.
As the only two featured female performers, Quiana Onrae’l Holmes and Shayla Brielle G. have limited stage time, but play key roles in the show’s story and boast strong vocal chops.
Unlike Jersey Boys, where the choreography for The Four Seasons barely goes beyond a series of step-touches and finger snaps, Trujillo’s choreography for Ain’t Too Proud (which won a Tony Award) is impressively intricate, and there’s a lot of it. The cast of triple-threat performers here shine in delivering this choreography, much of which involves high athleticism, attention to detail, and integrity of style. And the dancing here is terrifically clean—down to the timing of each turn and hand placement, thanks in part to the care of dance captains Melvin Gray Jr. and Nazarria Workman. Music director and conductor Jonathan “Smitti” Smith oversees an orchestra that plays the show’s classic hits with punch and style.
Central to the musical’s messaging is finding the strength to move forward in life, despite trauma and regrets. There’s a line that says, “The only thing you can rewind is a song.” You’ll walk away from Ain’t Too Proud appreciative of the spectacle and throwback tunes, but it’s the heart and the raw, human stories and their messages that will stay with you.
Related Articles
