Theatre Horizon presents Fats Waller’s Ain’t Misbehavin’

Waller (1904-1943) copyrighted more than 400 songs, composed more than 500, performed in the Hollywood musical Stormy Weather, and was posthumously inducted into the Songwriters Hall of Fame in 1970. Many of his jazz melodies are bangers equal to contemporary R&B, so it’s not surprising that Murray Horwitz, who co-wrote the original book with director Richard Maltby Jr.; early contributor/stage choreographer Arthur Faria; and musical arranger Luther Henderson created a musical focused solely on Waller's songs. With vocal heavy hitters like Nell Carter, Irene Cara, Andre DeShields and (later on) Debbie Allen, the show’s 1978 premiere won a Tony.

An excellent cast

I’m not usually a fan of jukebox musicals. Without a coherent structure, they require a charismatic and talented cast. This show, which hinges on its score, requires performers who can capture jazz’s celebratory spirit and Waller’s saucy humor, including the comedically insulting “Your Feet’s Too Big”, a cheeky ode to getting high (“The Viper’s Drag”), and the sassy yet questionable gender-politics ballad “Find Out What They Like”. Fortunately, Theatre Horizon has all that in spades with Rajeer Alford, Tiara Greene, Curtis Harris, Jessica Money, and Chabrelle Williams.

In the opening act, their natural chemistry, ad-libs, and crowd work keep the audience engaged. Greene, Money, and Williams perfectly harmonize while easily replicating 1920s-style falsettos. Alford's sleepy velvet voice woke the room by holding an astonishingly long note. The seminal “Black and Blue” number is a standout. While Harris lacks his colleagues' lived-in stage confidence, he is charming, and as a dancer, he’s bonelessly effortless. He easily transitions from one-handed cartwheels into knee-walks for "The Viper's Drag".

Capturing the vibe

The always-delightful director Amina Robinson and choreographer Eliana Pinckney easily fill the space with organic movement. Living tableaus add to the first act’s non-stop party vibe. Dahlia Al-Habieli's simple set design establishes the speakeasy period with fringed chandeliers, doily-covered pianos, and ornate high-backed chairs. Shout-out to costume designer Ariel Wang's act-one Flapper costumes.

A discreetly placed fringed curtain keeps the live band separate from the choreography but tangibly onstage as a musical presence. Kudos to keyboard player and band conductor Terry Klinefelter, who truly captures jazz’s seductive playfulness. And thanks to sound designer Chris Sannino and associate sound designer/audio engineer AJ Bloomfield for keeping the sound clear, crisp, and balanced.

While the first act won me over, I wasn't a fan of the second act’s cabaret-style staging. The vocals are still strong, but I missed the cohesive stage energy and the visual cast tableaus. The second act is slower because of more emotional songs like “Mean to Me.” Robinson gives each performer the opportunity to own the state, but I missed the beautiful stage pictures the actors created during their background interactions in the first act.

Notable omissions

My second concern is more with the show’s the original text. While Ain't Misbehavin’ perfectly captures Black joy and culture, the musical mostly avoids references to racism or social discussions. Maybe it’s because it was originally developed by a majority-white production team who overlooked that. However, in his biographical note about Ain’t Misbehavin’, Horwitz, one of the show’s original writers, notes that “some of Fats’s best work is gone forever due to negligence, racial discrimination, [and] the nature of the music business back then,” and that more music like Waller’s “will be lost unless care is used to stop the sad erosion of a precious national resource.”

While a majority-Black cast remains subversive, even today, I wish the original book had addressed Waller’s death or his fight with institutional racism. Although I could not tell through the curtain, I hope the representation onstage was equally reflected in the band.

Roaring 20s fun

The Theatre Horizon cast was very well-received by the racially diverse audience, mostly Gen X and older, on opening night. If you're looking for easy, breezy, Roaring 20s fun, this two-hour show (including intermission) features a charismatic cast able to capture the vibe of Post-World War I entertainment (arrive early so you have time to snag street parking, and note your seat number). While some of the show’s words could undergo revision, where else can you find a five-person cast full of tap dancers, piano players, vocal stylists, and gymnasts?

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