Ain't Too Proud

(seen at the preview performance on 2nd April 2023)

As with many of these band biographical musicals, the monkey went in knowing a couple of songs, was surprised by one or two others but found the rest unknown and so was sitting absorbing an entire discography along with the artist history lesson.

This ran 18 months on Broadway, either side of the pandemic, and will do a fixed year in London. As a chance to see just how smooth a Broadway show can be, Dominique Morisseau’s book delivers a masterclass in focussed storytelling, Des McAnuff directs at the steadiest pace and Sergio Trujillo’s choreography captures the movement of the times with skilful updates as fashions change.

Paul Tazewell produces outstanding costumes for the ladies – the second dress change had the women around the monkey drooling, rightly so. Peter Nigrini’s projection design also adds the much-needed energy to Robert Brill’s very simple theater canopy set with the odd sliding office and a perfectly conceived bus interior.

For just the third preview, the company are already confidently into their stride. Our host Sifiso Mazibuko as the original Temptation (or “Temp”) Otis Williams makes an engaging narrator. Unafraid to admit his faults, particularly in the personal relationship department with long-suffering wife Josephine (Naomi Katiyo suitably frustrated), and undefeated by the life he chose.

Tosh Wanogho-Maud as hugely troubled as talented original band member David Ruffin dominates with the strongest voice and stage presence. Likewise Mitchell Zhangazha as Eddie Kendricks exposes the rougher side of fame.

In supporting roles, Evonnee Bentley-Holder is a highly believable Mamma Rose, Cameron Bernard Jones equally as manager Melvin Franklin.

The entire ensemble work to produce one very, very slick, polished to perfection glide through the music and development of Motown.

Peculiarly, for tunes emerging from the soul, the overall effect is oddly soulless. The rise and fall of friendships as business changes personalities should be moving, but the disposal of band members for expected music industry reasons becomes strangely repetitive rather than sad and unique. 

The two most dramatic incidents provoke some appropriate reaction, but for a show about entertainment the humour is somewhat lacking and there is little feeling of the audience relaxing deeply into the music. 

That they seemed rather to tack on “The Supremes” for two sequences seemed more an artificial (but welcome) way to vary the texture and give ladies something to do than augment the story.

If you are already a fan of The Temptations, this should be a “must.” For anyone else seeking a sleek night out, again, one to consider. For a little grit and constant stream of really well-known songs, perhaps “Jersey Boys” is a stronger choice in the biographical jukebox musical genre.