Tag Archives: Ryan Carter

AIN'T TOO PROUD

Ain’t Too Proud

★★★

Prince Edward Theatre

Reviews, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

AIN’T TOO PROUD at the Prince Edward Theatre

★★★

AIN'T TOO PROUD

“great songs, sensational dance but lacks emotional content”

 

Ain’t Too Proud, described as The Life and Times of The Temptations, directed by Tony-award winner Des McAnuff, and based on founder band member Otis Williams’ own memoir, is a whistle-stop journey through the history of the band from Otis’s discovery of music as a way off the Detroit streets, to becoming part of one of the most successful R&B groups of all time.

Otis tells us of his ambitions from the outset, “Singing is going to be my salvation” and the ethos of his group is that of all band members are brothers, “We all men, we all equal”. As the demanding life on the road, and the usual reliance on drink and drugs, takes its toll on the group, this maxim is severely tested. But, in essence, there isn’t a lot of life depicted on the journey and only a cursory look at the times. What there is, is some sensational song and dance routines.

The tour de force of this show is the outstanding Sifiso Mazibuko as Otis Williams. Stepping in and out of the song and dance line to narrate the story without missing a beat, he is close to ever-present throughout and if he begins to show signs of flagging by the finish, we can put it down to the aging of his character.

The opening half of the show though lacks spark. The songs are excellently performed and look amazing, but they are presented in small snatches, an accompaniment to the narrated story, which in itself does not excite. This begins to change with the arrival of the unpredictable David Ruffin (Tosh Wanogho-Maud) into the band and The Temptations’ first number one hit, My Girl. Some extra colour is provided with the inclusion of a three-song medley from The Supremes, described by Otis as The Temptations’ main rivals, which is one of the first act highlights. And as an example of how the songs reflect the narration, the group sings If You Don’t Know Me By Now just as Otis and his wife Josephine (Naomi Katiyo) split up.

As the group becomes more successful and looks to cross-over into the mainstream, a question is raised as to whether they are doing enough for fighting racial inequality. A clause in the band’s performing contract means their audience must not be racially segregated but the vital question is left open as monochrome projections show images of Detroit and Memphis ablaze, followed by the assassination of Martin Luther King.

Extra poignancy is found in the second half with the suicide of singer Paul Williams (Carl Cox) and images of the Vietnam conflict accompanied by a snatch of War (What is it Good For). The musical performance gets a lift too with longer song numbers, and a light show, particularly with the Reunion Tour and seven singers on stage rather than the usual five. The over-extended story of recording Papa Is A Rolling Stone becomes connected with Otis’s own story of missing his son growing up but any empathy is quickly swallowed up into the outstanding final number.

Ain’t Too Proud has great songs, sensational dance but lacks emotional content.

 

 

Reviewed on 19th April 2023

by Phillip Money

 

Photography by Johan Persson

 

Ain't too Proud  

Recent five star reviews:

   

The Net Kill | ★★★★★ | VAULT Festival 2023 | March 2023
After The Act | ★★★★★ | New Diorama Theatre | March 2023
Dance Of Death | ★★★★★ | The Coronet Theatre | March 2023
The Black Cat | ★★★★★ | King’s Head Theatre | March 2023
Britanick | ★★★★★ | Soho Theatre | February 2023
Cirque Berserk! | ★★★★★ | Riverside Studios | February 2023
Dance Me | ★★★★★ | Sadler’s Wells Theatre | February 2023
Gay Witch Sex Cult | ★★★★★ | VAULT Festival 2023 | February 2023
Hedda Gabler | ★★★★★ | Reading Rep Theatre | February 2023
The Lehman Trilogy | ★★★★★ | Gillian Lynne Theatre | February 2023

   

Click here to read all our latest reviews

 

The Boy Friend

The Boy Friend

★★★★

Menier Chocolate Factory

Reviews, , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Boy Friend

The Boy Friend

Menier Chocolate Factory

Reviewed – 4th December 2019

★★★★

 

“The pleasure of this joyous revival stems in no small part from its truly gorgeous visual impact”

 

Set on the French Riviera in the 1920s, The Boy Friend was an instant hit on the London stage when it premiered in 1953. It is an affectionate, sun-drenched, period pastiche, and terribly terribly English. The book follows a tried and tested romantic comedy formula: runaway rich boy meets rich girl pretending not to be, they fall in love, overcome a tiny obstacle, and end up in one another’s arms. There is an older comedy couple – man with a roving eye and battleaxe wife – who overcome their differences and fall in love a second time; an older romantic couple, whose love, too, is rekindled, and three satellite young girls, all of whom wind up with their beaux at the show’s close. So far so hackneyed. But you don’t come to The Boy Friend for the plot.

The pleasure of this joyous revival stems in no small part from its truly gorgeous visual impact. Paul Farnsworth’s set is a delicate filigree, bringing to mind bandstands and the balmy air of long summer evenings. Paul Anderson’s stunning lighting design complements each setting and mood perfectly, with a beautiful, bold palette that makes the heart soar. The costumes too are divine, in particular those of the marvellously chic Madame Dubonnet, although the male outfits in the final carnival scene do let the side down a little. The sequins seem somewhat tawdry when set next to the pierrots and Maisie’s whimsical butterfly.

It is very easy to imagine this production on a West End stage, and it seems highly likely that it will transfer, but it was a delight to see it up close in the Menier Chocolate Factory, and to hear it up close too. The orchestra, directed by Simon Beck, was a triumph, and performed Sandy Wilson’s score with the brio and tenderness it deserves. And the dancing… The dancing was out of this world. Sharp, snappy, sexy, infectious, fabulous. Terrific choreography from Bill Deamer and a knockout dance performance from Gabrielle Lewis-Dodson, as Maisie, in particular. This production is well cast, and all the principals shine. Amara Okereke is a perfect Polly – all innocence and charm – and has a radiant soprano which is blissful to listen to; Dylan Mason’s Tony is earnest and gauche, and there is delightful on-stage chemistry between them. Janie Dee brings some star quality to the delicious, flirtatious Madame Dubonnet; Tiffany Graves is full of fun and mischief as Hortense and Adrian Edmonson gives a peerless comic turn as Lord Brockhurst.

There are a few wrinkles in the fabric – Act III loses pace, mainly owing to the superfluous tango routine, and the shrillness of Polly’s three friends is overdone – but, in essence, The Boy Friend falls around you with the caress of a fine silk kimono and you can head off into the cold December night with the warmth of the Riviera in your step.

 

Reviewed by Rebecca Crankshaw

Photography by Manuel Harlan

 


The Boy Friend

Menier Chocolate Factory until 7th March

 

Previously reviewed at this venue:
The Gronholm Method | ★★★★ | May 2018
Fiddler on the Roof | ★★★★★ | December 2018
The Bay At Nice | ★★½ | March 2019
Orpheus Descending  | ★★★★ | May 2019
The Watsons | ★★★★ | October 2019

 

Click here to see our most recent reviews