Motown The Musical – Edinburgh Playhouse and Touring

Karis Anderson and Edward Baruwa in Motown The Musical at the Edinburgh Playhouse and Touring. Picture: Tristram Kenton

Motown the Musical runs at the Edinburgh Playhouse until 8 December 2018 and then continues touring.

Star rating: five stars ★ ★ ★ ★ ★

The term ‘jukebox musical’ is often hurled around as a sideways insult when the music in a show is already known. When the show adds insight, context and sheer joy in each in every number, the jukebox musical becomes something of a celebration. This show, penned by the mighty Berry Gordy himself, is just such a phenomenon.

Setting the scene with a dance and sing-off between The Temptations and The Four Tops, the audience is quickly onside as we join the preparations for a gala marking 25 years of Motown. From this standpoint, Berry Gordy (Edward Baruwa) takes us back to his childhood and how he was inspired by the monumental victory of Joe Louis against Max Schmeling back in 1938. Black against white; American against German; Gordy against the rest of the world.

Starting to write songs and finding success but no wealth, Gordy cajoles his family to lend him money to set up his own record label. Baruwa’s rendition of ‘To Be Loved’ is masterful – the man has lungs of steel to perform such long phrases – very powerful and a perfect match for both plot and character. Emotionally intoxicating.

This is soon followed by an original song written for the show: ‘It’s What’s in the Grooves That Count’ where Gordy persuades a mainstream radio show to play Motown records.

Staging throughout is fluid, crisp and effective, blending realism and abstract styles as appropriate for the story’s narrative and illustrating the times and trials of the ages. Matched by sublime lighting, period-perfect choreography and the lightest of directorial touches, the show is a feast for the eye as much as the ear.

Gordy’s gifted leadership creates the amazing Motown brand and sound and he’s drawn into a personal relationship with Diana Ross (Karis Anderson) that sees her solo career emerge from The Supremes. Moving Motown music from Detroit to Los Angeles, Gordy launches Ross as a movie star – projects that cost more money than faltering Motown can afford. When Ross defects from Motown, Gordy returns to Smokey Robinson and Motown to try and steer his ship back into prime position.

There are no fewer than 63 musical numbers sprinkled throughout the show. For what it’s worth, another new number Gordy wrote for the piece with Michael Lovesmith is possibly the greatest he’s ever written: ‘Can I Close the Door On Love?’ is an outstandingly strong blend of music, lyrics and character.

Gordy has conquered the stage with a masterpiece. Delivered by Baruwa, the range and spiritual depth of the song is beautifully arranged, following the emotional trajectory of Gordy’s lifework to perfection.

There are several standout moments and performances worthy of note, particularly Shak Gabbidon-Williams as an ultra-cool Marvin Gaye and Nathan Lewis as Smokey Robinson.

Bringing the story full circle, the finale is set within the Motown 25 Gala. The joy was palpable as the audience leapt to their feet to join the celebration of this unique brand of music – singing and dancing with the assembled cast of 25 gifted performers.

Utterly unmissable!

Fiona Orr