‘Motown’ soars on the back of its hits
Lackluster story about Berry Gordy can’t tame show’s fiery music
It “Ain’t too Proud to Beg.” The ceaselessly energetic “Motown: The Musical” will do whatever it takes to woo you with that signature Motor City sound.
Based on Berry Gordy Jr.’s 1994 autobiography “To Be Loved: The Music, the Magic, the Memories of Motown,” this indefatigable Tony-nominated jukebox musical traces the life, loves and melodies of the showbiz legend. Slickly directed by Charles Randolph-Wright, this nonstop hit parade sadly skimps on story as it bops through 40 nostalgic anthems, including “My Girl,” “Ain’t No Mountain High Enough,” “Stop! In the Name of Love,” “Mercy Mercy Me,” “War,” and “I Heard It Through the Grapevine.”
Make no mistake, Gordy’s story is an undeniably compelling one. The man changed the beat of America when he founded Motown Records, discovering iconic singers such as Diana Ross, Stevie Wonder, Michael Jackson, Marvin Gaye and Smokey Robinson. The music mogul didn’t just change the tenor of pop music; he also forced America to change the way it thought about race.
Alas, this gold-plated musical only explores that explosive social history in the most cursory manner as it races from hit to hit. The narrative of Gordy’s biography is also on the shallow side in favor of simply recreating the tunes that came pouring out of Hitsville USA. Of course there’s no arguing with the power and scope of the songs themselves.
Even if you didn’t grow up with this music, it’s hard to resist the precocious J.J. Batteast throwing himself into the bouncy moves of a young Michael Jackson. Jesse Nager captures the gentleness of Smokey Robinson while Jarran Muse effectively conveys the fire and angst of Marvin Gaye. The irresistible Motown catalog is the real star here.
But after a while, you begin to crave a little more connective tissue between the golden oldies. A little more development of Gordy’s political beliefs or his volatile relationship with Diana Ross would give the production a heart to match its high notes. Gordy’s book is just plain clunky.
Still the performers are joyous and bright, winning us over with their sense of fun and exuberance. Certainly Chester Gregory does what he can to give the production a spine with a charismatic turn as Gordy. Particularly while he sings, Gregory drills down into Gordy’s passion for music and the grit that made him pursue his dream no matter what. The actor doesn’t quite transcend the musical’s ham-handed dialogue, especially in the romantic scenes with the young and unknown Diana Ross (Trisha Jeffrey). This love story lacks light and heat, never quite building into its most intimate moments. In the one of the odder sequences, Berry suffers from “performance issues” in bed, and Ross comforts him by singing “I Hear a Symphony.”
To be fair, if what you really want is a high-voltage blast from R&B’s past, this musical will satisfy you, as it did many in the opening night audience. The sketchy source book can’t dim the propulsive power of the songs. Ain’t no mountain high enough for that.