It was a sound that would change music history. Ain't Too Proud is the electrifying new musical that tells the story of The Temptations from the streets of Detroit to the Rock & Roll Hall of Fame.
With their signature dance moves and unmistakable harmonies, everybody knows the Temptations' hits, but Ain't Too Proud brings the rest of the rocky history to life; how the founding members met, the unbelievable heights that they hit, and how personal and political conflicts threatened to tear the group apart as the country fell into civil unrest.
With a book by Dominique Morisseau, choreography by Sergio Trujillo, and direction by Des McAnuff, this musical tells the thrilling story of brotherhood, family, loyalty, and betrayal, featuring the toe-tapping hits hits like "My Girl," "Just My Imagination," "Papa Was a Rolling Stone," and many more.
It is Motown the Musical by way of Jersey Boys, with a soupçon of Dreamgirls in the Act One finale that makes you wish that the intragroup dynamics were more fully developed throughout. But Des McAnuff and choreographer Sergio Trujillo, who also collaborated on Jersey Boys, keep things speeding along: The conveyer belts and turntables of Robert Brill's set are hardly ever still, and the dancing represents a highly amped-up version of the Temptations' actual moves (sometimes at a slight cost to vocal precision). The songs do their work, and the ensemble casts shines whenever it gets a chance; Rashidra Scott makes an impression as Otis's ex-wife, for example, as does Saint Aubyn as Ruffin's peevish replacement, Dennis Edwards. As musical theater, Ain't Too Proud could generously be described as shameless. But as an evening of musical entertainment, it ain't too shabby.
There's some overlap here with 2015's Motown: The Musical, which covered a broader swath of the legendary hit factory's history. But this is the superior show, less pedestrian in its storytelling, if not without its own limitations. Those lie primarily in the workmanlike book, which settles on the memoir of Otis Williams, the Temptations' last surviving founding member, as its sole source. It also tries for such exhaustive detail that the narration almost literally never stops, while somehow making commercial success seem the easy part.
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