The joint is jumpin' in 'Ain't Misbehavin'
Play Review
By Cary Ginell soundthink@aol.com

BAD BOYS- Darryl Archibald tickles the ivories for the cast of "Ain't Misbehavin'" now playing at the Cabrillo Music Theatre in Thousand Oaks. Other performers are, from left, Natalie Wachen, Pam Trotter, Anthony Manough, Arthur L. Ross and Melissa Youngblood offering renditions of the music of the legendary Fats Waller. The musical runs through Jan. 13. ED KRIEGER/Special to The Acorn

"Ain't Misbehavin'," the tribute to the life and music of jazz pianist/entertainer Fats Waller (1904-43), has not only secured itself a place in Broadway history since its debut 30 years ago, but it also saved Waller from falling into obscurity. When the show first appeared at the Longacre Theater in New York in 1978, I was there, on my own for the first time, and seeing my first Broadway show.

In the cast that night was Ken Page, who played the most Walleresque of the five performers. Page is now the director of Cabrillo Music Theatre's current production of the show, which is enjoying a 10-day run at the Civic Arts Plaza's Fred Kavli Theater.

I had the chance, at long last, to meet Page at a rehearsal last week, introducing myself as "an old friend you've never met" and relating to him my experience seeing him in New York 30 years ago.

Page talked at length about the show, which won three Tony Awards, including Best Musical. He told me that "Ain't Misbehavin'" is much more than just another musical revue. "If you think of it as a revue, you're shortchanging yourself," he explains. "It's more vaudeville. When you put all of his music together, you get such a sense of who he was."

"Ain't Misbehavin'" delivers the joyous songs from Fats Waller's era in their original context, performed as if in a Depression-era speakeasy in Harlem, with a garter-sleeved piano player pounding stride on an upright piano, a hot six-piece jazz band, and five singers. These singers do not play characters (they use their own names in the show), but each conjures up elements of Fats Waller's effusive, largerthanlife personality in their performances.

With only one set, an Art Deco arch with a piano motif, the focus is entirely on the cast, and they don't disappoint. The five performers physically and vocally resemble their predecessors from the original cast. All do a splendid job of not only interpreting the groundbreaking work of Page and the other originals, but adding their own personalities to the mix as well, something that Page insists on in his direction.

Arthur L. Ross plays Ken Page's role, the Fats Waller lookalike who is the physical embodiment of Waller. Despite his girth, Ross is light on his feet and a great physical comedian. His high baritone falters only when trying to hit the low notes on "Jitterbug Waltz." In his other solos, Ross is delightful, especially in an over-the-top, hilarious rendition of "Your Feet's Too Big."

Melissa Youngblood is equally terrific in the role made famous by the late Nell Carter. Youngblood actually has a richer voice; her affecting version of the torch song "Mean to Me" rivals Carter's own showstopping rendition. Anthony Manough gives a letter-perfect performance of the role created by Andre DeShields, the sleeker side of Waller's persona, highlighted by the sinewy "Viper's Drag," a paean to pot smoking that showcases Manough's slithery, snakelike movements while dragging on a (faux) joint.

In Armelia McQueen's role, Pam Trotter displays a versatility that ranges from sweet to lusty. Her vocal on Clarence Williams' "Squeeze Me" was particularly evocative. The fifth cast member, Natalie Wachen, performs the role originated by Charlaine Woodard, singing a ravishing version of "Keepin' Out of Mischief Now."

Of all the songs in the show, Page cites the rowdy "The Joint Is Jumpin'" as the one that best represents the life force that was Fats Waller. "That song captures the absolute joie de vivre," he says.

Admirably pounding out Waller's stride piano is music director Darryl Archibald, with Darryl Tanikawa's crack six-piece jazz band performing on a movable upstage bandstand. The choreography for such a show cannot be overlooked and Marvin Thornton is to be applauded for integrating period movements, gestures and dance styles with grace and humor.

As it is every time I see the show, the most effective number is "Black and Blue," in which the five performers interrupt their good-natured jiving to deliver Andy Razaf's achingly haunting and poignant lyrics about the tragedy of racial discrimination.

After 30 years, "Ain't Misbehavin'" remains a triumph, a fitting tribute to the spirit of one of the most prodigious talents in the history of jazz. Get your pig's feet, beer and gin, and go see it before it leaves town.

"Ain't Misbehavin'" runs through Sun., Jan. 13. For ticket information, call (805) 449-ARTS.