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Directed by Charles Randolph-Wright, “Motown: The Musical” is the real story of the one-of-a-kind sound that hit the airwaves in 1959 and changed our culture forever. The show charts Motown Founder Berry Gordy’s journey from featherweight boxer to the heavyweight music mogul who launched the careers of Diana Ross, Michael Jackson, Stevie Wonder, Smokey Robinson, Marvin Gaye and many more.
Motown Records has a history so rich it changed the face and sound of American music. The musical currently firing up the stage at the Winspear Opera House chronicles the first 25 years of its time, up until founder Barry Gordy was forced to sell the label to a corporation with deeper pockets. From the first energetic notes, to the final curtain call, “Motown: The Musical” fills the stage with frenetic energy buzzing around some of the most iconic songs and artists of the 60s, 70s, and 80s.
The music speaks for itself, with over 60 (sixty!) Motown hits packed into a roughly 3 hour show, the story is rightfully told largely through the artistry it represents. Barry Gordy (Josh Tower), whose book serves as the basis of the play, remains the central character, along with longtime flame Diana Ross (Allison Semmes) and BFF Smokey Robinson (Jesse Nager). The three actors flawlessly perform the few moments of acting required, but their voices soar during each vocal piece.
Tower plays Gordy as a scorned, but loving, father figure who resents the monetary limitations that will force him to sell Motown as his talent leaves the company for greener pastures and more money. The loosely built plot surrounds his ambivalence about attending Motown’s 25th Anniversary Television Special in 1983. For anyone who remembers the show or has done any research leading up to the musical, the suspense is all for show. His voice lends such intimacy and soul to the character of Barry Gordy, it’s impossible not to like him. The notes float effortlessly across the currents of the auditorium and inject into each witness the struggle, joy and pain he experiences.
Ross and Gordy spent many years together as lovers, and Gordy continued to manage her career for a time after their personal relationship ended. For her part, Semmes’ spends much of the play as a star struck girl turned love struck woman. As Motown flourishes, Gordy’s attention to business takes a toll on Ross. Semmes acting far outshines the dimensions her role seems to place her in. While Diana Ross the woman plays as frustrated off stage and bubbly on stage, once again, Semmes vocals are pitch perfect.
Jesse Nager’s stage presence stands out as Robinson. He provides much of the levity and heart the musical needs to bind the three primary characters together. Robinson showed the faith and support Gordy needed to keep going when hard times hit. Gordy’s respect for Robinson is evident throughout the play in the way his character is written and the role he’s given in waking Gordy up to the reality of his success. Nager’s speaking voice mimics Robinson in ways that bring a joyous reverence for an iconic voice in American musical history. His singing voice takes that reverence further into the stratosphere as he transcends the character. Close your eyes and you hear Smokey Robinson, the lilting mellow sounds rising into the atmosphere, filling the opera house smoothly like a cool breeze on a hot summer night.
Much the same could be said of Jarron Muse as Marvin Gaye and young Nathaniel McCullors as the boy Michael Jackson never seemed to grow out of. When Muse breaks into a few bars of “Mercy, Mercy Me” during a staging of the Chicago riots, his lyrics brought those moments of history into focus, if only for a short time. McCullors bursts on stage as the Jackson 5 audition with Michael singing a rendition of Smokey Robinson’s “Who’s Loving You” in Gordy’s own words, “better than Smokey.” McCullors has the mannerisms the expression, the presence, and the voice down to perfection, showing us what a talent Jackson displayed even at such a young age.
The sets are perfectly simple, requiring only a few easy changes to move from scene to scene. Here, the lighting gives context with bright colors accenting the energetic music and muted shades taking the audience into the past and supporting slower moods. Conductor Darryl Archibald and his orchestra absolutely raised the roof with nary a false note. Its energy infected the entire production from start to finish. It must be said that no singer can fully perform without an equally talented band. Archibald and his players were excellent.
“Motown” plays a little fast and loose with the historical facts, though. The race riots of the late 60s and 70s get only bare mention in the scheme of things. While Marvin Gaye’s activism gets some attention, it really only matters in the context of how it drove a wedge between him and Gordy, eventually leading to Gaye’s defection from Motown. I suppose the Motown founder’s desire to be seen as a peacemaker contributes to this glossing over of the tremendous tension between races from that time period, but given that wounds have re-opened in recent years, any opportunity for a examination of these tensions and their causes seems worthy. I will say there is wisdom to be found in a phrase his character repeats throughout the play, “It’s not what is said. It’s what is meant that matters.” When I heard this, I thought about a key to building relationships-listen more than you speak. This sounds like a good start toward understanding.
“Motown: The Musical” remains an unqualified success regardless. I had a smile on my face throughout the show. I forgot I was at a musical at times and felt more like I was attending an event, a concert, a celebration, not just of the music Motown has given us, but of the affirmation of life and love, the joys and heartaches its music so authentically realizes. While the musical intentionally involves the audience, it will capture you from the first note anyway. Enjoy the ride.
Now playing at the Winspear Opera House July 28 – August 16
