Stage Review: ‘Motown The Musical Plays Detroit Soul Hits

From the moment the orchestra fire until the introduction, "Motown the Musical" takes a journey into a high-octane crowd pleaser elegantly constructed that knows where it goes.

Based on Berry Gordy's autobiography "To Be Loved: The Music, the Magic, the Memories of Motown", the musical at the Orpheum is authorized by Gordy and his family. Not avoid controversy, but certainly goes well at all. The production includes 60 songs, many of medleys and more trigger happy audience responses come into play when there is the unfortunate side effect of customers who cannot stop participating in singing -. Here you're hoping you do not have one of those neighbors.

It turns out that is expected to be a sampler, with a core of great artists in multiple roles (a pipe here, a Commodore there several Vandellas and Marvelettes). The story moves along chronologically, beginning with a young Gordy impressed by the victory of Detroit Joe Louis' about Max Schmeling in 1938 and the joy that results from this victory, especially in the African American community. Gordy wanted to make people as happy with the music.

"Motown the Musical" does what most historical musical do, which is briefly touched milestones discovery of talents, business decisions and world events. The exception is Diana Ross, who was the lover faced Gordy and Motown's most successful act.

A substantial amount of the musical work dedicated to their relationship, giving Josh Allison Semmes Tower and much stage time. Artists are, as expected, wonderfully gifted. Semmes takes her character Diana in the Orpheum audience to connect with a pair of theatergoers of luck, and also manages to get everyone to hold hands and swaying to "Reach Out and Touch."

 

"Motown the Musical" not about creating exact copies of the proceedings. The arrangements are quite faithful to the original, but have a distinct taste 21st century driven by a murderous band in the mouth. It aims to provide just enough of the old to keep Boomers content, but inject a more contemporary sensibility to broaden the appeal.

The scenery is noteworthy for its kinetic quality. Vertical and horizontal beams lit carefully move up, down, left and right to stake between scenes and divide elegantly stage. Projections fill some of the gaps with solid efficiency, if the images of the Rev. Dr. Martin Luther King, Jr., or wavy psychedelic art. In total, it complements and enhances the rest of the action on stage, which is often singers make their memorable plays and finding the slots.

It is worth mentioning that gets to play Gordy young young Stevie Wonder and Michael Jackson. Two artists - Nathaniel Cullors and Leon Outlaw, Jr. - alternate roles. On opening night, Cullors had the honors and be fair to say that astonished everyone with his energetic and spot-on performances.