“Motown the Musical:” Broadway Grand Rapids brings more than melody to the stage
The mask of Motown is skillfully worn as lyrically layered performances harkened back to old negro spirituals that most times had two stories to tell: one of happiness, the other of excruciating oppression.
“Motown the Musical” eloquently demonstrates the competition between reality, the perception of love, and the pursuit of happiness—where the hard lines of intolerance are not pleading to be blurred. To be loved is the feeling that every Motown artist is trying uniquely to attain. They all compete, Berry Gordy (Chester Gregory) included, for validation from their audience, from each other, and from both the community in which they live and from the communities they melodically bellow toward.
The musical, brought to the local stage by Broadway Grand Rapids, is presented at DeVos Performance Hall now through May 7.
The pace of the musical pushes you along the Motor City assembly line. You are propelled forward with purpose — wildly at times — to keep momentum. To coin a phrase from Shonda Rhimes, “there’s a hum.” The fight to gain quality and equality without the control of “them and they” is evident throughout the production.
“Music for all people,” Gregory’s Gordy said. “They” said no until “they” had to say yes! The audience doesn’t need to look too closely. We can see who “they” wanted Motown to be: excellent, transformational, iconic…but with a mountain high enough to keep you in your place.
Through the limited no-shuckin’, no-jivin’ dialogue, the message to the performers of Motown to that they were valued but not equal was clear. Some Motown artists were content in that dwelling. Others took the road less traveled and pushed hard against the boundaries.
The impeccable vocal artistry of the cast poetically muddles the story lurking beneath. The lyrically layered performances harkened back to old negro spirituals that most times had two stories to tell: one of happiness, the other of excruciating oppression. The mask of the music of Motown is worn.
As such, it was no surprise to witness what was going on while watching the hometown of Motown burn to the ground. The Detroit Riot of 1967 is passionately choreographed to the cry of Marvin Gaye (Jarran Muse). This is a Motown and history moment that Ebony Road Players’ fall production of Detroit 67 can’t wait to explode.
In every way, the direction of Charles Randolph-Wright kept the audience in the pocket. Never down too long, Randolph-Wright employs precisely staged humor and invites audience participation which kept the mood light and repeatedly brought us back to joy.
No one brought more joy than the vocal stylings of the young Michael Jacksons (CJ Wright and Raymond Davis Jr.), who astounded the audience time and again. Even with your eyes open, there was no denying kindred spirits of the King of Pop were in the room. Equally, double take performances were delivered by Allison Semmes’ Diana Ross.
It is all that you’ve heard. Motown the Musical was called “more than a Broadway show, a celebration of music that transformed America” by CBS News. “The entire soundtrack of your youth performed with style, panache and elegant choreography,” exclaimed the Chicago Tribune. Even if the music of Motown is not the music of your youth, you are transported back in time to a bygone era where the musical performances alone were mesmerizing.
Though channeled they may be, this cast of assembled Motown Greats and the Henry Ford of Hitsville are here to sing songs that glimpse upon a story to set a standard for what it takes to strive to make everyone happy.
Thank you, Motown cast and orchestra, for crooning and swooning us on, but still providing reflections of the way life used to be.
