‘Motown The Musical’ at The Academy of Music

By Amy A. Winnemore

   Bringing Detroit’s soulful music to the masses was the goal, and Berry Gordy was ready for the challenge by creating the melodies of Motown. Adapted from Gordy’s memoir, Motown the Musical is now onstage at the Academy of Music in Philadelphia.

Krisha Marcano, Allison Semmes and Trisha Jeffrey.

   The musical begins with a dejected Berry (Chester Gregory), feeling betrayed by his former stars and unwilling to attend the 1983 television special celebrating Motown's 25th anniversary. Both the harshness and opportunity of the music industry are shown throughout the show with flashbacks, starting with Motown’s first headquarters Hitsville U.S.A. Newcomers and superstars of Motown music take turns supporting each other and bringing each other down following one of Gordy’s mantra: “competition breeds success.” Tension between groups (The Four Tops vs. The Temptations) is a source of play-fighting throughout the show as their medley of songs is treated more as a sing-off battle than a project of harmony.
   Gregory is wonderful as Gordy, laboring to keep his Motown dream alive while fighting outside influences that hope to tempt his artists with dollar signs to leave the label. His chemistry with Allison Semmes as Diana Ross is evident as the two tell the story of their long romantic relationship with songs such as “I Hear a Symphony.” Semmes is amazing as Ross, embodying the diva and wowing the crowd especially when she invited two audience members to join her in “Reach Out And Touch.”
   Telling the story of Motown over nearly 50 years, you watch as the fashion morphs from pastel pencil skirts and beehives to glittery ruffled tuxedo shirts and Afros. With costume design by Emilio Sosa and hair and wig design by Charles G. LaPointe, the eclectic mix of baby boomers were happily transported back to their youth.
   Director Charles Randolph-Wright blends the fast past scenes smoothly. There are over 50 Motown hits, as well as several appealing original songs written by Gordy and Michael Lovesmith, layered in the production.
   The scenic design by David Korins not only helps tell the story, but also makes the show possible. It allows scenes to move quickly, historical events to be shown without distraction and different locations to scroll in and out of view when a physical scenery change would be too slow. The history of Motown’s success is mapped on travelling flats (vertical set pieces) that slide back and forth without noise or effort that help transition all or part of the stage. The flats show: patterns, backdrops, curtains, theater marquees, light bars, title cards, dates, times, locations, doorways, storefronts and interiors of different houses (Gordy’s house vs. the house that Gordy has to temporarily move into) that make you wonder what the future of physical scene changes will be given the quality and efficiency seen in this show. It’s half concert, half storyline, almost like a concept album turned inside out.
   The Civil Rights Movement is prevalent and the challenges that many African-Americans faced are shown not only in the dialogue but also in the music. Although important, certain aspects of the Civil Rights Movement within a musical might feel tacked on or simple “lip service.” Not here. In Motown these pivotal moments of American history actually unlock the original meanings of these songs and reveal why the lyrics of some songs (“Ball of Confusion” and “What’s Goin’ On”) were penned the way they were.
   During these quick looks at history the show does not allow us to stay in any place (or time) for very long. It doesn’t allow us to celebrate too long or mourn too deliberately. The opening of Hitsville U.S.A. (in a scene from 1959) gives us a song of promise (“Get Ready”) whereas the 60s assassinations and Vietnam are treated with (maybe heavy handed) a version of “War” by Edwin Starr. Sometimes this fast pace works, sometimes it doesn’t. You could imagine that audiences come with their own memories of these songs, and would wish the show to allow more time to unpack their own memories.

   And these songs are brought to life by Motown’s large ensemble, with almost all playing multiple roles. CJ Wright and Raymond Davis Jr., who share the roles of Young Berry Gordy/Young Stevie Wonder/Young Michael Jackson, brought down the house as the Jackson 5 audition for Gordy.
   And while some might see Motown as an extended tribute show, it stands way above jukebox musicals such as Movin’ Out. It tells the personal stories of when Gordy navigated Hitsville U.S.A. and artists such as Marvin Gaye, The Marvelettes, Smokey Robinson and The Supremes ruled the airways.
   Motown The Musical plays through June 11, 2017 at the Academy of Music, 240 S Broad Street, Philadelphia, Pa. For tickets call 215-893-1999 or purchase them online.