Sunday, January 16, 2000

Rose of a show gets joint jumpin'

By MORRIS SULLIVAN
NEWS-JOURNAL CORRESPONDENT

DAYTONA BEACH — According to the liner notes from the original Broadway cast recording, when Ain't Misbehavin'" opened in 1978, critics used all the powers of their vocabularies to sing its praises. A review of Seaside Music Theater's production, however, could easily be stated in two simple words: See it.

However, readers and editors alike expect more than that, so this critic hopes you'll forgive him for gushing.

At its essence, "Ain't Misbehavin'" presents a collection of 30 songs, each composed or recorded by the legendary piano player, Thomas "Fats" Waller, who grew up immersed in the rich cultural stew that was Harlem in the first two decades of the 20th century.

Waller's devout parents encouraged him to begin his musical education by studying classical music and playing in church; he honed his chops on Bach. Against his father's wishes, however, Waller fell for the seduction of blues-influenced jazz. At all-night parties and Harlem nightclubs, his left hand pounded out striding" rhythms while his right hand improvised the melodies that became songs like "Honeysuckle Rose" and "The Joint is Jumpin.'"

The show could excel by simply showcasing Waller's music. However, like the music, "Ain't Misbehavin'" builds on a irresistible stride riff upon which is layered shimmering melodic runs, comic asides, and spine-tingling harmonies. Underscoring it is the heartbeat of human experience and emotion.

As each song is performed, it becomes a miniplay in which the singers' characters emerge. Seaside has assembled five fine performers for this production: Illeana Kirven, Horace E. Smith, III, Sapphira Schatar, Shontelle Thrash, and Ray Hatch. (Their characters are named Illeana, Horace, Sapphira, Shontelle, and Ray.) Each gets several opportunities to display his or her talents as soloist. Each is an accomplished vocalist, but they all have superb comic and dramatic sensibilities, as well.

When Illeana sings "Mean to Me," she'll break your heart. You'll fall in love with Sapphira when she delivers Keepin' Out of Mischief Now," and Horace will have you in stitches by the end of "Your Feet's Too Big." Ray will well, maybe his rendering of The Viper's Drag" won't get you high, but it will certainly conjure up the experience for you.

As an ensemble, the cast compliments each other exceptionally well. Some of the high points of the show occur during duets, such as when Horace and Illeana explore the vicissitudes of romance from sweetness to hilarity during "Honeysuckle Rose." With their give-and-take on "Fat and Greasy," Ray and Horace make you wish your drinkin' buddies were as much fun as they, while Shontelle and Illeana manage to be both funny and steamy when they advise the ladies to "Find Out What They Like."

Some of the most brilliant moments of the show come during its more introspective numbers, which the company performs in heart-stopping harmony. The staging for these pieces excels as well. During "Jitterbug Waltz," a suave vocal arrangement of a romantic melody floats above a sequence of comic vignettes. During the final song before the finale, "Black and Blue," the blend of voices is spine-tingling. Director Chuck Hoenes heightens the effect by placing each member of the cast on a stool in a solitary pool of light. The effect is chilling.

Hoenes' direction has ensured that Ain't Misbehavin'" proceeds at a mile-a-minute pace, yet the action never detracts from the music. The set, costumes, sound, and lighting work together to evoke the feel of 1930s Harlem, but add plenty of contemporary flavor.

Ray Hatch is one of those rare artists who seems able to do everything well and make it all look easy; besides his thoroughly enjoyable work onstage, he choreographed the show.

And the band, led by pianist Terry Tichenour, is hot. Adding to Tichenour's fiery keyboard work, bass/ woodwind player Jonathan Levine, trombonist Robb Clark and percussionist Sam Forrest pay due homage to Waller's stylings.

With recent years' revival of interest in swing, all too often the music and trappings seems dated, if not a little stale.

Not the music in "Ain't Misbehavin'," which has enough life to keep the attention of even those whose exposure to the form has been limited to Squirrel Nut Zippers. Maybe Waller's songs aren't quite timeless, but within the context of "Ain't Misbehavin,'" they come pretty darned close.