Saying that Motown Records is a cultural icon that shaped music and changed it forever is something of an obvious statement. It is probably the label with more classics in its catalogue than any other, so making a musical using said catalogue is not much of a surprise. And if the book of the musical is written by Motown founder and living legend Berry Gordy, excitement builds up. An evening with Smokey Robinson, Diana Ross, The Supremes, The Temptations, The Four Tops…? Bring it on!
It is true that ‘jukebox’ musicals like this usually lack a deep and meaningful story, and this is no exception. Many expected to know more about Gordy and some of the obscurities around Motown – why it moved to LA, what kind of a boss he was and a large etcetera – but instead we are just left with a rather shallow tale of an American dream that ends when all the stars Gordy created left him. So, assuming the script is a hagiography of Gordy (after all, he is the writer), there is something very good about it: it depicts the stars’ personalities perfectly. Diana Ross, Smokey Robinson and Marvin Gaye are not only recognisable but even have a certain depth.
However, this show is all about the songs. About 50 of them are performed throughout the show, although not all of them receive the full treatment (The Jackson 5, for instance, only perform a medley of their most famous hits). However, do not let the huge number put you off: these are all wonderful songs. From The Marvelettes’ ‘Please Mr Postman’ to Marvin Gaye’s ‘What’s Going On’, it feels like a greatest hits party that you hope will never end. Despite all this coming and going of groups and solo artists – which can sometimes feel confusing – the main stars are undoubtedly Diana Ross, Smokey Robinson, Marvin Gaye and, of course, Berry Gordy.
Cedric Neal (as Berry Gordy) gives a soulful performance with a very personal voice that makes it beautifully expressive. Charl Brown – Tony-nominated for this role on Broadway – is Smokey Robinson in a sympathetic yet authentic portrayal. He sounds just like Robinson and, although at times his lines feel a bit unnatural, he surfs through them with charm. Jordan Shaw’s Marvin Gaye, possibly the most balanced performance of the evening, has moments of brilliance. Not only is his voice remarkably similar to Gaye’s, but his whole performance is utterly believable. And, of course, Lucy St Louis as Diana Ross is an example of perfect casting: her body language and her voice work like a charm. You actually believe the ultimate diva Ross is there.
With slick sets that move and make transitions smooth and compelling to watch (a bit like in The Bodyguard) we witness episodes of the evolution of Motown, from its foundation to the 25-year anniversary gala in 1983. Of course, none of this would be possible without music, and the 15-strong band – masterfully conducted by Gareth Weedon – is just fantastic. The story is contextualised by some historical episodes like the deaths of J. F. Kennedy and Martin Luther King or the Vietnam War, as a reminder of the delicate moments the USA was going through. Racial issues are touched upon only lightly, sadly, with the message that ‘music unites us all’ all over them.
The audience absolutely loved the show and rewarded the cast with a standing ovation. All throughout its 50 songs there were people whispering – or just belting out – the lyrics of these wonderful classics, and each Motown artist or group was received with delight (particularly Michael Jackson, played brilliantly by a charmingly energetic Kwame Kandekore). Quite frankly, who cares if the story is a little too simple? Motown The Musical is two and a half hours of musical happiness, and I had an absolute blast.
Motown The Musical is playing at the Shaftesbury Theatre. For more information and tickets, see the Shaftesbury Theatre website.