GIRL POWER
The Black Ensemble Theater honors The Marvelettes
Motown — the machine that shaped the sounds of several generations — brought an impressive number of artists to the world’s ears, from The Four Tops, The Supremes and The Jackson Five to Rick James, Boys II Men and Erykah Badu. These days, when new acts seem to be minted weekly (and sometimes eclipsed a week later), it never hurts to stop, listen and remember the great performers of the past. And arguably, no outfit has done this better than The Black Ensemble Theater, which has celebrated such talents as Jackie Wilson, Marvin Gaye and Otis Redding, among others. This week, the company sets its sights on one of Motown’s first “girl” groups with “The Marvelous Marvelettes.”
Formed in 1960 by Inskter, Michigan high-schooler Gladys Horton, the quintet landed a contract a year later and got into the studio with Smokey Robinson and Marvin Gaye. Seemingly overnight, they had a hit with the single “Please Mr. Postman.” But by 1970 — outshone by The Supremes and beset by personal issues and questionable promotion — the group was gone. As short-lived and sporadic as their success may have been, The Marvelettes played a role in the evolution of pop culture and women’s place within the music industry.
Like many individuals, Reginald Williams — the writer of The Black Ensemble Theater production — was familiar with the group’s music, such songs as “Beechwood 4-5789,” “Don’t Mess With Bill” and “Too Many Fish in the Sea.” Knowing what went on behind the scenes was something else. “I want to tell how important The Marvelettes were to the financial survival and growth of Motown during its embryonic stage,” he says. “In addition, I wanted to tell the story of five very talented teenage girls who made musical history and who rightfully have earned their place among other great pop and R&B musical artists of the past 50 plus years.”
Realizing that a rendition of the songs alone could not capture all he wanted to tell, Williams fashioned a companion narrative to provide the necessary context. “Without a narrative or book to accompany the songs, the play would lack the essential quality of any play: a story,” he explains. “Hopefully, the narrative I’ve woven will not only entertain the audience, but, to some extent, educate the audience concerning some of the many contributions African-Americans have made to American musical history and tradition.”