Review: AIN'T MISBEHAVIN' at Theatre Memphis

From 1918 to the mid-1930s, African American artists in the United States experienced a cultural blossoming known as the Harlem Renaissance-a period in which theatre, music and literature were created by (and often for) Black Americans.

Rather than allowing white performers to continue to falsely and offensively portray the Black experience in minstrel shows, artists such as Louis Armstrong, Cab Calloway, and Duke Ellington took the lead in developing new sounds that became known as jazz and swing. It was a joyous, carefree sound that celebrated freedom-both musical and cultural. Another groundbreaking artist of that time was Fats Waller, who invented the Harlem stride style, where the left hand on the piano “strides” or leaps across the keys, creating its own tempo and rhythm.

Before his death at the age of 39, Waller had copyrighted over 400 songs and sold countless others to fellow artists due to financial difficulties. Although he didn’t write all the songs in the musical revue AIN’T MISBEHAVIN’, currently playing at Theatre Memphis, his mischievous, playful spirit permeates the production-brought to life by a remarkable cast of musicians and performers. If you weren’t a fan of this music before, you will be by the time the curtain falls.

Under the direction of the rising star, Jared Thomas Johnson, this Theatre Memphis production strengthens with each passing number. While Act I showcases some well-known classics such as “Ain’t Misbehavin’,” “’T Ain’t Nobody’s Bizness If I Do,” and “The Joint Is Jumpin’,” it’s in Act II that the cast truly comes into its own, delivering one show-stopping performance after another. It’s an embarrassment of riches, as this community theatre ensemble of talented artists demonstrates remarkable synchronicity. Everything looks, feels, and sounds divine.

While it’s easy to spotlight the exceptionally gifted performers, this show wouldn’t be what it is without the musicians who elevate it from good to great. Living up to the cliché’, “You don’t know what you’ve missed until you hear it,” Tammy Holt’s band delivers an authentic, vibrant sound that transports us back to the early days of jazz and when every theatre in town used to have live instruments. Standing ovations go to Julian Henderson on drums, Marcus Hurt on bass, Chelsea Negray and John Lux on reeds, Andrew Earle on trombone and Brandon Duggett on trumpet for their impeccable execution, while Tammy Holt, as pianist and musical director, provides what may be the best musical direction of the season. There have been plenty of shows in Memphis this season with live musicians, but none as good as this ensemble.

The onstage leads-three women and two men-take turns in the spotlight, supporting one another and harmonizing with top-tier vocals. While Act I delivers with its energy, choreography (by Angel Ceara Clark) and presentation, Act II raises the bar even higher. This “murderer’s row” of talent truly shines, beginning with Justin Allen Tate’s rendition of “The Viper’s Drag/The Reefer Song.”  He owns the song, the stage and the audience by extolling the “virtues” of getting high with magnetic charm. Tate’s command of his voice and movements-from his toes to his pinkies-is like a magician delighting in his own tricks. He’s a joy to watch.

Kortney Ballenger keeps her songs upbeat and bouncy until she slows things down with a stunning rendition of “Mean To Me,” lamenting the heartache of being alone in a relationship. For anyone who’s ever loved the wrong person for the right reasons, Ballenger captures that pain with tender sincerity.

In two of the more provocative songs about physical appearance, Cleavon Meabon, IV has a blast performing, “Your Feet’s Too Big” and “Fat And Greasy.” It takes a special kind of performer to pull these off, but Meabon does so with flair, delivering insult after insult with comedic brilliance.

Similarly, Chasity Alliston sheds all inhibition, offering plenty of comic relief in several numbers before revealing a smooth, silky belt in her smoky ballad, “Keepin’ Out Of Mischief.” It’s a reminder that she, like the rest of the cast, has serious vocal chops! She soars!

Ashundra Bernard leads the women in a bawdy, hilarious charge to “please your man” in the song, “Find Out What They Like” bumping and grinding with infectious joy. She’s clearly having fun-and we’re all here for it.

If there is ever any doubt about this cast’s vocal prowess, it’s put to rest when the five leads are joined onstage by the “pseudo” nightclub audience members to perform “Black and Blue.” It’s hard to say how many-part harmony this is, but with nine people onstage, let’s call it “nine-part harmony.” It’s that good.

Technically, the show is stunning. The set, costumes, lighting and sound design blend as seamlessly as the vocal harmonies, creating a feast for all the senses. It simply doesn’t get any better than this.

It’s hard to recall how long it’s been (if ever) since a theatre in Memphis has produced AIN’T MISBEHAVIN’. It’s a musical revue that demands exceptional talents across the board to truly succeed. The show thrives on a seamless connection between the band, the performers, the costumes, the sound, and more-each element must work in harmony for the production to come alive. Fortunately,  Theatre Memphis’ production delivers on every level, as the talent pours over the audience in a truly exquisite way. This joint (and production) is jumpin’!

Photos by Steve Roberts