Ain’t Too Proud: The Life and Times of the Temptations

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Ain’t Too Proud: The Life and Times of the Temptations

Imperial Theatre, NYC, March 21, 2019

Reviewed by Elizabeth Ahlfors for Cabaret Scenes

Ephraim Sykes, Jeremy Pope, Jawan M. Jackson,
James Harkness, and Derrick Baskin
Photo: Matthew Murphy

The thrill of fame and the agony of loss make up the theme weaving through Ain’t Too Proud: The Life and Times of the Temptations. We’ve seen this before in jukebox musicals, many by director Des McAnuff, who is responsible for Ain’t Too Proud as well as probably the best in the genre, Jersey Boys. If Ain’t Too Proud does not reach the standard of Jersey Boys, it cannot be blamed on the astounding cast of performers or the soulful nostalgia in songs like “My Girl” and “Papa Was a Rolling Stone.”

At the Imperial Theatre, playwright Dominique Morrisseau (Pipeline) tells the story through the memory of Otis Williams (Derrik Baskin), founder and last survivor of the “Classic Five.” With snippets of previous R&B songs from the ’50s, Williams searches for young singers and dancers for his fledgling group. He finds Paul Williams (played by James Harkness, sincere baritone and slick dancer) and bass Melvin Franklin, played with reliable loyalty by Jawan M. Jackson. Jeremy Pope, recently outstanding in the drama Choir Boy, portrays the sweet tenor Eddie Kendricks. Striking gold is super-dancer/tenor Ephraim Sykes as egotistical David Ruffin. After a sluggish rise, Williams signs up the group with Berry Gordy (Jahi Kearse) and a R&B superstar career was born. Hits came and kept coming, most of them written by Smokey Robinson and later by Norman Whitfield.

Morrisseau ‘s timeline is fuzzy, and while there is the feeling of a sketchy paint-by-numbers, “and then we did,” in the narration, the music lifts and soars over the enormous theater. From the opener, “The Way You Do the Things You Do,” just try to keep yourself still. And, admit it, you have to smile at the wink-wink pick-up lyrics, “If good looks were minutes/You know you could have been an hour.” 

Kudos to choreographer Sergio Trujillo who updates and showcases the sophisticated athletic choreography originally taught to the group by Motown’s Cholly Adams (“Pops”), who is not, incidentally, mentioned in the show. Otis William had said, “Pops refined the Temptations” by astutely designing snazzier moves for the capable “Temps” than he did for other groups, for example, The Four Tops. Pops called his technique “vocal choreography.” They were singers first, Pops said, and he accommodated the singer’s need to breathe, then make spectacular twists, splits and leaps and get back to the microphone stand on time. 

For Ain’t Too Proud, Trujillo’s choreography is cognizant of changing times. The original dance designs had become dated with time and over 24 new versions of the Temptations. All the dancers in Ain’t Too Proud are outstanding, but it is undeniably the lead, Ephraim Sykes, trained by Alvin Ailey, who delivers the money moves, laser-sharp steps, and breathtaking leaps. When his character, David, is cut from the group, Dennis Edwards (Saint Aubyn) steps in and shows his own dazzling dance moves. Music director/arranger Kenny Seymore keeps the harmony smooth and the individual singers distinctive. Throughout the show, costume designer Paul Tazewell keeps the boys looking sharp, and designs smashing looks for The Supremes (Candice Marie Woods, Nasia Thomas, and Taylor Symone Jackson).

As is often the case with fame, the “Temps” relished their success but paid the price. One by one, Morrissey brings out the tragic and bittersweet moments in the lives of the original Temptations—problems with alcohol, drugs, medication, infidelity, and racial attacks. Derrik Baskins as the hard-working Williams, in charge of keeping the other group members in line, is burdened by his own problems, choosing career over family and neglecting his son until it is too late. 

Morrisseau is correct in her comment, “Thought my brothers would live forever. But I guess the only thing that really lives forever is the music.” And the music is what will bring you to this theater.

Elizabeth Ahlfors

Born and raised in New York, Elizabeth graduated from NYU with a degree in Journalism. She has lived in various cities and countries and now is back in NYC. She has written magazine articles and published three books: A Housewife’s Guide to Women’s Liberation, Twelve American Women, and Heroines of ’76 (for children). A great love was always music and theater—in the audience, not performing. A Philadelphia correspondent for Theatre.com and InTheatre Magazine, she has reviewed theater and cabaret for the Philadelphia Inquirer and Philadelphia City News. She writes for Cabaret Scenes and other cabaret/theater sites. She is a judge for Nightlife Awards and a voting member of Drama Desk and Outer Critics Circle.