Ain’t Misbehavin’
Barrington Stage Company
Boyd-Quinson Stage in Pittsfield, Massachusetts
Written by Richard Maltby, Jr. and Murray Horwitz, directed by Jeffrey L. Page
“You’re perfection, goodness knows.”
This show displeased me greatly back in 1978 when it pleased and excited its audiences. Richard Maltby, Jr.’s concept was just too dependent on mid-century Black stereotypes for me. I loved the songs—still do—and the talent of the artists on stage was so special. I just hated watching the show (it was hit with 1,604 performances in spite of me).
Now, more than 40 years later and under the very talented hand of director and choreographer Jeffrey L. Page, the show is spectacular, performed with an equal amount of talent but without that white judgmental sense of the original. In two parts, each about an hour long, the world of Fats Waller opens up to us artfully and romantically and with a sadness that stirs the heart. Part One brings us into the Savoy Ballroom in Harlem sometime in the 1930s. Part two, set in the war years of the 1940s, allows the five performers to mix with the hoity-toity society folk. Jefrey L. Page is fascinated by the masks people wear to get along in the world and he uses Waller’s songs to show us what’s beneath the invisible masks his characters wear.
The “ladies who sing with the band” are fabulous here. Soprano Maiesha McQueen draws you into her world with “Honeysuckle Rose” a duet with bass-baritone Arnold Harper, II, whose tall, wide body makes him a romantic foil like none other. Anastacia McClesky’s rich, high-edged alto voice brings total honesty to “Keepin’ Out of Mischief Now.” Allison Blackwell, back for a third season, implores us all with “Squeeze Me,” and we want to hug her hard.
The men are an interesting couple, as unalike as can be. More on them later. Suffice it to say they are more than equal to the task of partnering these three women.
The various combinations of voices seems unending in this show with solos, duets, trios, and ensembles. The vocal harmonies are credited to Jeffrey Gutcheon and they work as well now as they ever have, placing the songs where they belong, at the forefront of the production. Lyrical as it all is, in reality the songs in this show often seem to have been newly created by improvisatory artists. While the ensembles are marvelous, nothing beats the trio of female voices on numbers such as “When the Nylons Bloom Again,” which blew me away. This special quality gives the show a unique place on the stage. It’s as though the show is being created and performed just for us.
The show starts with songs and swiftly moves to dance. Page as choreographer has total control over what we see. His concept of masks without masks needs movement to open our minds to his message. He does this with a combination of social dance, balletic arrangements, modern feeling, and strictly choreographed relationships. It is brilliant and a joy to watch as his unstated mask issues invade our imaginations.
The beautiful production is Page’s legacy here with a team of designers that take over with imagination and historical premise. The set, for example, is the Savoy Ballroom, a popular spot in the 1920s, 30s, and 40s.Did it ever look as fabulous as on the Barrington Stage? I don’t know. Raul Obrego’s superb design will now define the place for me. It is expertly lighted by designer Tom Ontiveros who has worked on various levels for this show. Oana Botez’s costumes are smart, amusing, and period-free giving them a universal aspect. It works fine for the show without forcing us into a time period or a previously anticipated set of images. Only the sound design fails; it doesn’t make voices crisp or highlight the words of Waller’s songs.
But let’s not forget the men in the show. Jarvis B. Manning, Jr. is a remarkable dance performer with a body that seems to stretch out to over six feet long at times. He sings well, too, which is absolutely unfair to the rest of the performing world. His is a performance to remember because you cannot do otherwise. Arnold Harper, II has the sort of voice that sinks into you and holds your heart and your guts for a long, long time. He is another one whose memory will last as long as you can call up the songs he sings. Just mention “I’m Gonna Sit Right Down and Write Myself a Letter” and I’ll hear his melancholic voice and melt away once again. In a company of young stars, he is the show’s brightest light.
Director Jeffrey L. Page has triumphed with this show, brining home to roost the wonderful songs of an almost forgotten genius, Fats Waller. The man’s name may not make you wish to be a part of something wonderful, but once you experience the show for yourself, his name will be emblazoned on your soul. There is no denying that the songs you don’t know will become your favorites: “Your Feet’s Too Big,” “Black and Blue,” and even “T’ain’t Nobody’s Bizness If I Do” will come to haunt you… in a good way.
“Ain’t Misbehavin'” plays at Barrington Stage Company’s Boyd-Quinson Stage, 30 Union Street, Pittsfield, MA through July 9. For tickets and information go to their website or call the box office at 413-236-8888.
