Cedric Neal, Charl Brown and cast members of Motown the Musical at the Shaftesbury Theatre, London. Picture: Alastair Muir
Motown the Musical continues at the Shaftesbury Theatre, London.
Star rating: three stars ★ ★ ★ ✩ ✩
The best jukebox musicals make an emotional connection with an audience, however formulaic the narrative structure, and on one level Motown the Musical (originally on Broadway three years ago) does just that.
It is no surprise that right from the first note played by a top-notch orchestra led by musical director Gareth Weedon, this production’s musical content is all you want it to be. Stylistically everything is on the money, from Esosa’s excellent costumes and Charles G Lapointe’s wigs to Patricia Wilcox and Warren Adams’ eye-catching, co-ordinated choreography performed by a high-energy, uber-talented ensemble.
All of these elements, combined with director Charles Randolph-Wright’s slick if sometimes uninspired staging, are demonstrated in the opening scenes when we see The Temptations versus the Four Tops during rehearsals for the 1983 concert celebrating the 25th anniversary of Motown.
This joyful beginning also provides a plot device as Motown founder Berry Gordy reflects on the rollercoaster journey which has led to his humble record label born in Detroit, Michigan becoming a legendary force in popular music (breaking down racial barriers in the process).
Gordy’s libretto is paper thin and full of cliches, but in Act I that doesn’t seem to matter all that much. It’s easy to be high on the happiness that oozes from the songs performed by the likes of Smokey Robinson, Marvin Gaye and The Supremes, even if the social and political references seem a bit contrived (these were better served by a previous show resident at the Shaftesbury – Memphis the Musical).
In Act II there are still plenty of musical highlights to enjoy, but the book becomes rather self-indulgent and dominated by its focus on Gordy’s relationship with Diana Ross and the launch of the former Supreme’s solo career.
One then becomes more aware that this is very much Gordy’s take on Motown’s history and place in the record books. Granted, the story touches on the fallings out behind the scenes when successful artists moved on to pastures new, as well as lawsuits from songwriters and all kinds of financial woes, but it still remains difficult to become emotionally involved with the characters portrayed.
This is more the fault of the book, rather than the excellent players, who very rarely fall into the trap of crassly impersonating familiar figures. Best of all is Cedric Neal who, despite playing a somewhat two-dimensional character, gives a bravura, nuanced performance as Gordy and offers some of the best vocals of the night.
In Act II the amount of time spent following Ross’ career means there is less room to hear more of the memorable back catalogues of other artists, but that takes nothing away from Lucy St Louis’ distinctive portrayal of one of Motown’s greatest stars. The actress and singer does particularly well in making the transition from starry-eyed teenager to the onstage diva overflowing with sentimentality.
Elsewhere, Charl Brown is a wonderfully charming Smokey Robinson, while Jordan Shaw does brilliantly to evoke something of Marvin Gaye’s troubled genius (Shaw stood in for Sifiso Mazibuko who normally plays Marvin Gaye but was otherwise engaged on this occasion celebrating the arrival of his baby girl). Plus a special mention must go to Samuel Edwards who leads The Contours singing ‘Do You Love Me’.
Aside of the show’s weaknesses (Beautiful – The Carole King Musical is one example of a ‘jukebox’ musical with a stronger narrative), there are still very few West End shows that can boast as many musical gems as this one.
If songs like ‘Ain’t No Mountain High Enough’, ‘I’ll Be There’, ‘Dancing in the Street’, ‘Stop! In the Name of Love’, ‘My Girl’ and ‘I Heard It through the Grapevine’ were the soundtrack of your youth, or you wish to introduce these incredible songs to someone for the first time, it would be hard to go wrong with a visit to Motown the Musical.
Lisa Martland
Tickets for Motown the Musical are available HERE
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