The familiar songs of early 20th century jazz pianist Thomas “Fats” Waller will fill the Merry-Go-Round Playhouse when “Ain't Misbehavin'” opens there this week.
Jennifer Meyers / The Citizen
Director Paul David Bryant, right, of Los Angeles, goes over choreography during rehearsal for the Merry-Go-Round Playhouse production of “Ain't Misbehavin'.” The actors are, from left, Nirayl Wilcox, Tony Perry, Vonetta Mixson, Curtis Wiley and Cheryl Howard.
Director Paul David Bryant, right, of Los Angeles, goes over choreography during rehearsal for the Merry-Go-Round Playhouse production of “Ain't Misbehavin'.” The actors are, from left, Nirayl Wilcox, Tony Perry, Vonetta Mixson, Curtis Wiley and Cheryl Howard.
The musical revue chains together almost 30 of Waller's compositions and original works into a lively production that acquaints audiences with the relationship between the uptown and downtown music of New York City at the time.
“At the time African-Americans weren't associated with Tin Pan Alley, but this gives the general public that other side of it, not that commercial style presented at the time,” said cast member Curtis Bannister, who understudies for the role popularized by Andre DeShields in the show's original 1978 Broadway production.
Waller would often write piano pieces like “Honeysuckle Rose” and “Black and Blue” for African-American audiences, then rearrange them for white listeners. This musical contrast between the cultures is addressed in “Ain't Misbehavin'” by numbers like “Lounging at the Waldorf.”
“People will recognize probably 75 percent of all the songs in the show,” said director Paul David Bryant, who has performed in “Ain't Misbehavin'” four times and directed the show three times.
Bryant's favorite moment in the musical arrives during the song “Black and Blue,” when the bare voices of the singers communicate the social injustices faced by black men and women at the time.
“The song refers to the fact that in the 20s and 30s, African-Americans were still ridiculed and beaten,” he said. “It's just exquisite, a nice tender moment in the show.”
Despite Bryant's extensive work with the show, he is not nearly bored to be directing it once more. He looks forward to the freshness each new cast infuses into the production.
“All actors come to the table with a different flavor, something new and exciting,” he said.
The set design of this production has also presented Bryant with a new challenge. The piano, which accompanies a seven-piece band, sits on a center platform that both rotates and shifts from one side of the stage to the other. Two “satellite” platforms can also be moved on stage from its left and right sides depending on how much space the cast requires at the time.
The revue is performed by a cast of five, with no ensemble support. In addition to Bannister, “Ain't Misbehavin'” will be performed by Nirayl Wilcox, Cheryl Howard, Vonetta Mixson and Tony Perry. The small number of players proved helpful to Bryant, who was able to stage and choreograph the show within the space of five days.
“I like spending more individual time with the characterizations,” he said. “It's easy to have a one-on-one with the entire cast.”
With so few people to work with, the cast compares itself to a family. Each performer can grow accustomed to the others' strengths and weaknesses and learn where their individual talents are most needed in the show.
“Most of the time it's easier to get along with them, it's very close-knit,” Bannister said. “You get a chance to meet everyone and find out how they tick.”
Wilcox, performing in original cast member Charlaine Woodard's role, feels the support of her fellow players will be most helpful during the difficult harmonies in “Ain't Misbehavin's” music.
“You might look and think it's easy, but a lot goes into the show with this much song and dance at the same time,” she said.
The cast also faces challenges from the structure of the revue itself, which is much more song-oriented than story-driven, like other musicals. Instead of being packaged into a narrative, Waller's popular jazz songs are allowed to speak for themselves and the cultural context in which they were written. The players work under their own names due to the absence of any actual characters.
“When you have a traditional, clear-cut story, the impetus is less on you to create lively characters,” Perry said. “You only have those few moments, there's no time for an arc.”
With the songs of Waller as their main source of strength, both the cast and Bryant are hopeful that “Ain't Misbehavin'” will breathe life into its audiences.
“Be prepared to let your hair down, laugh out loud and loosen your collar,” Bryant said. “Come prepared to have a rollicking time, and if you don't, then I haven't done my job.”
Staff writer David Wilcox can be reached at 253-5311 ext. 245 or david.wilcox@lee.net
“At the time African-Americans weren't associated with Tin Pan Alley, but this gives the general public that other side of it, not that commercial style presented at the time,” said cast member Curtis Bannister, who understudies for the role popularized by Andre DeShields in the show's original 1978 Broadway production.
Waller would often write piano pieces like “Honeysuckle Rose” and “Black and Blue” for African-American audiences, then rearrange them for white listeners. This musical contrast between the cultures is addressed in “Ain't Misbehavin'” by numbers like “Lounging at the Waldorf.”
“People will recognize probably 75 percent of all the songs in the show,” said director Paul David Bryant, who has performed in “Ain't Misbehavin'” four times and directed the show three times.
Bryant's favorite moment in the musical arrives during the song “Black and Blue,” when the bare voices of the singers communicate the social injustices faced by black men and women at the time.
“The song refers to the fact that in the 20s and 30s, African-Americans were still ridiculed and beaten,” he said. “It's just exquisite, a nice tender moment in the show.”
Despite Bryant's extensive work with the show, he is not nearly bored to be directing it once more. He looks forward to the freshness each new cast infuses into the production.
“All actors come to the table with a different flavor, something new and exciting,” he said.
The set design of this production has also presented Bryant with a new challenge. The piano, which accompanies a seven-piece band, sits on a center platform that both rotates and shifts from one side of the stage to the other. Two “satellite” platforms can also be moved on stage from its left and right sides depending on how much space the cast requires at the time.
The revue is performed by a cast of five, with no ensemble support. In addition to Bannister, “Ain't Misbehavin'” will be performed by Nirayl Wilcox, Cheryl Howard, Vonetta Mixson and Tony Perry. The small number of players proved helpful to Bryant, who was able to stage and choreograph the show within the space of five days.
“I like spending more individual time with the characterizations,” he said. “It's easy to have a one-on-one with the entire cast.”
With so few people to work with, the cast compares itself to a family. Each performer can grow accustomed to the others' strengths and weaknesses and learn where their individual talents are most needed in the show.
“Most of the time it's easier to get along with them, it's very close-knit,” Bannister said. “You get a chance to meet everyone and find out how they tick.”
Wilcox, performing in original cast member Charlaine Woodard's role, feels the support of her fellow players will be most helpful during the difficult harmonies in “Ain't Misbehavin's” music.
“You might look and think it's easy, but a lot goes into the show with this much song and dance at the same time,” she said.
The cast also faces challenges from the structure of the revue itself, which is much more song-oriented than story-driven, like other musicals. Instead of being packaged into a narrative, Waller's popular jazz songs are allowed to speak for themselves and the cultural context in which they were written. The players work under their own names due to the absence of any actual characters.
“When you have a traditional, clear-cut story, the impetus is less on you to create lively characters,” Perry said. “You only have those few moments, there's no time for an arc.”
With the songs of Waller as their main source of strength, both the cast and Bryant are hopeful that “Ain't Misbehavin'” will breathe life into its audiences.
“Be prepared to let your hair down, laugh out loud and loosen your collar,” Bryant said. “Come prepared to have a rollicking time, and if you don't, then I haven't done my job.”
Staff writer David Wilcox can be reached at 253-5311 ext. 245 or david.wilcox@lee.net
Citizen
Hot Jobs
New! Off the Menu
The Citizens' Say
Post your comment - click hereThere are No comments posted.