Review: Temptations stage play “Ain’t To Proud” shines

 

Soulful voices, spirited choreography and searing portrayals of humble young men destined to become the Emperors of Soul: the story and the music are now familiar as one's heartbeat, but that didn't keep a diverse crowd from packing Dallas' Fair Park City Music Hall to enjoy the Tony-award-nominated live stage production of Ain't Too Proud: The Life And Times Of The Temptations. 

 

It's a tall order to pack decades of generation-defining hits (30 total), iconic hitmakers and various cultural influences into two hours and 30 minutes, but Ain't Too Proud succeeds. Similar in tone to the1998 hit mini-series, the events are narrated by their still-living group founder, Otis Williams (portrayed by Marcus Paul James): "From 1963 to today, 25 Temptations have contributed to our history, but myself, Paul Williams (James T. Lane), Melvin Franklin (Harrell Holmes Jr.), Eddie Kendricks (Jalen Harris) and David Ruffin (Elijah Amad Lewis) are the foundation of it all." He introduces the members one by one and shares that his Texas roots cast him as a "country bumpkin" in hard-scrabble Detroit. His fervor to prove otherwise led to six months of juvenile detention for "gang activity": his promise to stay trouble-free and make "singing his salvation" is a dream not only realized for him, but for all of us who still love the music. 

 

Each of their early stumbling blocks and victories are addressed with flair and aplomb, from their first "shark" manager, Johnnie May (Traci Elaine Lee, who also played Supremes member Mary Wilson), to meeting Motown founder Berry Gordy Jr. while using the john: "When you find out Berry Gordy is using the bathroom, you suddenly have to pee....really bad!" They recorded 24 singles before landing their first smash, "The Way You Do the Things You Do," but watching them move through each number with crisp dance moves, rich vocals and tautly tailored suits definitely made the ride a spectacular one for the audience. 

 

It wasn't always easy getting and staying at the top, to be sure: "Sometimes, 'temp' stood for 'temporary,'" Otis sighs as he expounded on lost loves, personal vices---Paul moving from milk to scotch, Eddie's multiple affairs, Melvin's arthritis and dwindling immune system from the cortisol shots and the mercurial David Ruffin, who avoided discussing his abusive childhood yet sabotaged himself when "he became addicted to the worst drug of all, the spotlight. How do you end up on top of the world, yet still fall beneath it?" 

 

What Ain't Too Proud....does that differs from the series, besides allow for a smattering of expletives, is interject more of the seriousness and sorrowfulness that came with forging through, personally and professionally, a racially-charged pre-segregation life as individuals and entertainers ("We can't cross over without performing in the South...." "It's not worth crossing over if we're getting shot at!"). Props and digitalized backdrops reflect the seismic issues of the times: war, the assassination of Dr. King and the worldwide places and venues their music took them. How they went from fighting with Norman Whitfield (Brett Michael Lockley, who also play early Temp member Al Bryant) about recording "Papa Was a Rolling Stone," yet charging angrily through it with Dennis Edwards (Dwayne P. Mitchell) made it a multi-platinum No. 1 smash. All of them about grumbled about having to compete for Berry's attention with Diana Ross, yet sharing a stage with her and the Supremes in a first-class televised special that showed the world how powerful and pervasive soul music had become. 

 

Despite the clashes and the catastrophes, Otis makes it clear that he misses and loves them all, especially his late son Lamont (he pays tribute with his splendid solo vocals with "What Becomes of the Brokenhearted").The standing ovation everyone earned at the end was for their everlasting gift the world: "funk, lots of love, soul and smooth moves." They're definitely still coming to see you Otis: thank you and well-done.