Fats Waller was a big man with an even bigger personality and his spirit is bursting from the doors of Seattle Musical Theatre in their production of Ain’t Misbehavin’. Waller’s portrait is watching over these six performers and eight band members as they present a joyous, raucous, and reverent tribute to his legacy.
From the moment the audience enters the theater, they are whisked immediately into the 1930s club scene with the musicians casually chitchatting with each other on the stage. Before the official show even begins, the actors come out to schmooze with the audience so everyone gets to be in on the party.
When the music finally starts, the stage is instantly saturated with swagger and we know we are in extremely capable hands. Co-Directors Teresa Thuman and Savannah Brittian along with the cast have created six distinct and dynamic characters that move easily from song to song. Brenda Melrose as Dorothy T LaRue oozes with the mysterious sexiness of Billie Holiday. In her first solo, “Squeeze Me” she has the audience in the palm of her hand with the tiniest raise of her eyebrow. Mercedes Savoy as sung by Kiery Vida Valdez is beautiful, brassy and brimming with charm. She has a twinkle in her eye and a sparkle in her voice which is instantly captivating. Rounding out this bevy of insanely talented women, we have Cammi Smith as Carmelia Smithart. Smith is the truest definition of a powerhouse. She moves through some very challenging and register-defying vocal lines as though it was nothing.
Not to be outshone, the fellas bring some serious capability to the stage as well. DeSean Halley, singing the role of William Earl Jackson, is every bit the playboy of the group. He uses his deliciously smoky voice and smooth moves to woo the ladies onstage (and the audience too!). Singing Curtis J. Lamar, Patrick Tolden is so effortlessly cool it’s intimidating. The last puzzle piece is DuWayne Andrews as Langston Livingston. Andrews is the consummate showman with dazzling vocals and exuberant dance moves.
While each member of the cast gets several chances to really shine, they are equally stunning as an ensemble. The cast, under the adept music direction of Darrius Willrich, is able to bring together all their distinct voices and styles to make a strong and cohesive sound. This blending is put to great effect throughout the show from the jubilant “The Joint is Jumpin’” to the breathtaking and heartbreaking “Black and Blue”. As the last (but certainly not least) member of the ensemble, the band seriously rocks. They expertly ride that tight wire of being polished and letting the improvisational nature of the genre shine through.
When Ain’t Misbehavin’ was originally produced, each of the characters was named for the singers that created the roles. For this production, the cast was given the opportunity to choose the names of their characters. Co-Director Thuman writes “[they] have personal significance for them: relatives, ancestors, or names that resonate and connect them to the past.” The ownership that this gives the performers is evident throughout the show.
The very special alchemy of truly excellent music and supremely talented performers has made for a marvelous and slightly rowdy night at Seattle Musical Theatre. Why can’t all nights be this great? As Fats Waller would say, “One never knows, do one?”
Ain’t Misbehavin’ is playing at Seattle Musical Theatre through March 4. Tickets and other information can be found at seattlemusicaltheatre.org.
