“Ain’t Too Proud” comes to the Kennedy Center from the Berkeley Repertory Theatre. (Photo by Joel Dockendorf via the Kennedy Center)
The creators of Ain’t Too Proud-The Life and Times of The Temptations may bristle at the notion that it’s “merely” a jukebox musical. But the Broadway-bound show—which arrived at the Kennedy Center last week after last fall’s hit run at the Berkeley Repertory Theatre—is what you’d expect solely based on its title. It’s a staged biopic, one not worthy of great celebration, nor shame.
Ain’t Too Proud tells the origin story of the Temptations, Motown’s enduring soul group, via hit singles and plenty of dance. The songs may be familiar, but they remain time-tested and wonderful. The choreography, which regularly ignites like a spark plug, is always on point. Graceful figures clap, slide, and twirl while singing these indelible tunes. Through constant and forward motion, they breathe fresh life into golden oldies.
And yet, there’s little narrative heft to deepen Ain’t Too Proud beyond a blissful revue. Dominique Morisseau’s by-the-numbers book spans heartrending topics, such as bad parenting, substance abuse, mental illness, and death. “Papa Was a Rolling Stone,” for example, is employed literally, typical of this show’s blunt and obvious approach. During that number, a son blames his father for being forever absent. Cue a cartoon anvil, dropped from above with the subtlety of an actual, iron payload.
At best, Ain’t Too Proud is a marvel of set design. A mix of projected images and dazzling LED panels, the show’s background outshines the bland story unfolding upstage. Yes, Derrick Baskin is fabulous as Otis, the show’s protagonist and narrator. But does he have to connect every expository dot, and so often? Ephraim Sykes is a whirling dervish of charm as David. Jahi Kearse is slick and smooth as the Motown kingmaker Berry Gordy.
According to my notes, women appear briefly during Ain’t Too Proud’s two-and-a-half hours of VH1 storytelling. And when they do, the ladies bring to mind a far better show: Dreamgirls. Once Ain’t Too Proud relocates to Broadway, the serviceable, male-dominated production will be the third-best option to Mean Girls. In D.C., it shares a roof with Hamilton. Hard-pressed for a hot orchestra ticket to that juggernaut? This show is a passable Plan B.
