‘AIN’T TOO PROUD’
Temps’ tunes shine, but show tries too much
“Ain’t Too Proud,” the frustrating biographical Broadway musical about Motown’s hit-machine The Temptations, takes its title from a 1966 record, “Ain’t Too Proud to Beg.” But it could just as well mean “ain’t too proud to change the lineup.”
Between 1960 and today — the Temps are still going strong — there have been about 25 members of the group. This is tricky for a jukebox musical. And it was never just a matter of folks aging out; change was in the group’s DNA. So since “Ain’t Too Proud” wants to cover the entire history of the Temptations, much of the stage time in this tuner, staged by the “Jersey Boys” team of Des McAnuff and Sergio Trujillo, is dedicated to the whys and wherefores of the coming and goings of members, all brokered by the one constant all these years, Otis Williams, who owns the brand and from whose point of view this show is told.
As in, Derrick Basin, playing Williams, stands on stage and narrates his point of view, as show-and-tell events unspool around him.
Fair enough, you might say. Great guy. Brilliant artist. And he was there.
Truth. But the problem is the conflicts that he discusses are, alas, very much like the conflicts you can find in previous juked bios of male artists: Can you go out on the road and still be an active parent? (No.) Will there be a woman at home annoyed at your absence? (Yes.) Will everyone actually put the band before their individual egos? (Nope.) Can you avoid people wanting a solo career? (Oh, no.) Do emnities dissolve with time allowing for lucrative reunions? (Yes, they do.)
“Ain’t Too Proud” is based, way too closely based, on Williams’ history (“The Temptations”). Biographies need distance and an outsider point of view, and more emotional engagement.
“Ain’t Too Proud” has a wholly conventional structure, as if everyone involved didn’t want to run counter to Williams or upset Berry Gordy (Jahi Kearse), whose persona here is exactly like his persona in “Motown the Musical.” Fascinating issues like the band’s appeal to white audiences, its need to tour in the South, debates over whether it should sing Smokey Robinson ballads or Norman Whitfield soul, drug use and the complexity of Williams’ own personal life are brought up but quickly and often awkwardly dismissed. Such are the perils of doing legacy-creating shows about living people with ownership in the material.
If, like me, you’ve been a fan all your life, you will still enjoy hearing many of the classics (“Get Ready,” “Since I Lost My Baby,” “You’re My Everything”) from the classic Temps lineup of David Ruffin (Ephraim Sykes), Melvin Franklin (Jawan M Jackson), Paul Williams (James Harkness), Eddie Kendricks (Jeremy Pope) and, of course, Otis Williams.
Basin doesn’t always have a lot of energy as Otis, probably due to his wanting to reflect a thoughtful man whose bandmates were showier than their leader. But it makes the single-voice narration, a drag to start with, drag some more.
As you’d expect, the show livens up in the musical numbers, especially since Trujillo’s work honors the Temps moves and further theatricalizes them with a turntable that adds to the flash and fluidity of the staging. Most other performances are good enough, with Pope’s Kendricks the deepest dive and the terrific Sykes a standout when it comes to fullness of character. As jukebox bios go, this one looks classier than most, thanks to a cool set from Robert Brill, giving the show oomph.
To the eye, anyway. You’re left wishing the show had chosen one part of this band’s life and stayed close therein, found more real-time dramatic action, and been more willing to look at America through this catalog of musical greatness. That would have precluded neither the music nor the fun.
“Ain’t Too Proud” plays at the Imperial Theatre, 249 W. 45th St. Visit ainttooproudmusical.com or call (212) 2396200