Sheldon Rhoden looks, acts, sings and returns triumphantly to Westcoast Black Theater Troupe like the real Marvin Gaye as “Prince of Soul” music. Nate Jacobs’ revisal of an earlier version of Gaye’s story covers his career from 1950s to mid-1980s, reigning over developments in and of Motown music. The production boasts typical features that have audiences filling the space WBTT newly owns.
Energy characterizes a charismatic cast and the upstage musicians, backed by brightly colored vertical rectangles. A play of lights extends to the three-quarter-round performance area. Projections upward on each side of that show mostly actual pix of, and relating to, Gaye. Cristy Owen’s lavish costumes sometimes reproduce those shown on album covers and both personal and performance scenes.
A standard way of structuring bio revues of a composer’s work has been to give snatches of info followed by “And then I wrote...” and then the work performed. Jacobs supplies period and bio facts, mostly spoken by Gaye’s brother, followed by performance of “And then he did...” bio scenes or song-and-some-dance. Too much of the encyclopedic detail drags, delaying the musical entertainment audiences want. Besides, except for his talent, Marvin Gaye was hardly an admirable person.
Nate Jacobs is okay as the awful father who fatally shot son Marvin but suffers in other -- especially youthful -- roles. Demands of doubling to quadrupling from most of the cast extend least to Ariel Blue, a convincing Mother, and “E-Man” Avraham, as engaging brother Frankie. Michael Mendez displays his usual virtuosity, celerity and sex appeal as various announcers and in a score of bit parts.
The cast boasts absolutely gorgeous women. Sasha Lumsden smoothly transitions from Marvin’s sister Leota to his considerably older and helpful first, wife Anna. Likewise, Janesia Shanae begins as sister Jeannine Gay but engages with Marvin in impressive duets -- like “Ain’t No Mountain” and “Your Precious Love” -- as sweet Tammi Terrell. Perhaps most different of Emerald Rose’s number of roles are as Maxine Powell, who first polished Marvin as a performer, and as Janis Hunter, his captivated young second wife and singing partner.
Among the most applauded ensemble numbers are “Honey Love” and “Hey Little Schoolgirl.” “I’ve Got the World on a String” scores as an early solo by Marvin/Rhoden, whereas “Mercy, Mercy Me” and “Keep Getting it On” are later wows for him. Musicians give full support, yet the vocalists are often too mic-ed.
