By Dale King
Thomas “Fats” Waller lived a short but notable 39-year life. A master of stride piano and a sparkling entertainer, he was a fine songwriter whose best work occupies an honorable place in the Great American Songbook.
He deserved wider recognition, but it took 35 years from his 1943 death before the high-energy compilation of his tunes, Ain’t Misbehavin’, hit the Manhattan stage.
The show opened in the Manhattan Theatre Club in 1978 and has since made the rounds of various New York venues. There was a Broadway revival in 1988 and a national tour starring the Pointer Sisters, Eugene Barry-Hill and Michael Leon-Wooley in 1995. From November 2008 to May 2009, season two American Idol contestants Frenchie Davis, Trenyce Cobbins and winner Ruben Studdard starred in the 30th anniversary national tour.
Lake Worth Playhouse has kicked off the second half of its 61st season with a top-notch rendition of the show that’s totally faithful to the songwriter’s lyrics and music.
Director Nicole Lee, backed by a stellar stage crew and fronted by five consummately capable performers, pays tuneful, on-the-money homage to Waller and the black musicians of the 1920s and ‘30s who were part of the Harlem Renaissance.
Music for the show is live, giving the production more of an intimate, Cotton Club feel. Karl Van Richards, a triple-threat in music, dance and theater, keeps the piano notes flowing while Carlos Mota maintains the rhythm on drums.
Singers Rose Pascal (Charlaine), Cerina Anderson (Nell), Princess Victome (Armelia), Michael Wallace (Andre) and Gregory Johnson (Ken) offer up a fine, fine evening of rowdy, raunchy, tender and humorous songs that captures the various moods of the era and reflects Waller’s view that life is a journey meant for pleasure and play. The demeanor on stage gets more laid back and frisky as the show progresses.
The production opens with the 1929 tune for which the show is named, bringing all hands onto the stage. The proscenium is nearly vacant, except for a prop in the center that sports a lighted re-creation of Waller’s face. Arches bearing the likeness of piano keyboards stand on both sides of the stage.
After a few musical belts, the cast is primed and ready for action. Johnson and Anderson combine on a hug-me-close version of Honeysuckle Rose that virtually drips with Southern style. The three girls come up with some 1940s-style tips with When the Nylons Bloom Again. Anderson is back to support the war effort with Cash for Your Trash and everyone returns for Jitterbug Waltz, a song that’s virtually impossible to sing on key.
With few inhibitions, Pascal squeals and screeches through Yacht Club Swing. The Joint is Jumpin’ ends Act 1 with the cast fleeing from the stage to the sounds of sirens. Pascal, Anderson, Victome and Johnson give Lounging at the Waldorf a satiric touch, but Wallace threatens to steal to show with his stoned-out version of The Viper’s Drag (The Reefer Song).
Perhaps the best song of the night is Black and Blue, with the five performers coming together choir-style and singing with razor-sharp harmony.
Every cast member is excellent, with a spot-on voice that makes the show worthy of the standing ovation it received. Praises are also in order for choreographer Deshon Allen who has recreated authentic 1920s and ’30s dance moves.
Ain’t Misbehavin’ is playing through Feb. 2 at the Lake Worth Playhouse, 713 Lake Ave., Lake Worth. Tickets are available by calling the box office at 561-586-6410.
