Dallas Theater Center opened the Fats Waller Musical Show, Ain't Misbehavin', on April 13, 2004, following five days of previews. There's no plot line, just two hours of rousing music associated with Waller. The most recognizable songs include: "Two Sleepy People," "I Can't Give You Anything But Love," "It's a Sin To Tell a Lie," "Honeysuckle Rose," and the title song. The performers are first-rate, especially Dallas regular, Liz Mikel, who commands attention just by walking onto a stage. Her interpretation of "Squeeze Me" was interrupted several times by applause. Her vocal range runs the gamut of the scales, and her voice glides effortlessly from top to bottom, eliciting lots of calculated laughs along the way.
Dioni Michelle Collins is a fine singer and comedienne reminiscent of an early Totie Fields. With a great voice and impeccable comic timing, she is a delight to watch. When she and Liz Mikel team up for "Find Out What They Like," the joint is rockin'. Janeece Aisha Freeman also has a delightful voice and comic flair to match. Dwayne Clark and Ken Prymus do justice to their songs and dances but occasionally veer into overkill, especially in the drunk scene. Both are formidable talents who really don't need to ham it up to get laughs. Being too cute can be too much of a good thing.
Ironically Mikel, the only actor in Ain't Misbehavin' without Broadway credits, is the most commanding performer on a stage full of outstanding talents. She clearly has the chops for Broadway.
Opened:
April 13, 2004
Ended:
May 9, 2004
Country:
USA
State:
Texas
City:
Dallas
Company/Producers:
Dallas Theater Center
Theater Type:
Regional
Theater:
Dallas Theater Center
Theater Address:
3636 Turtle Creek Boulevard
Phone:
214-522-8499
Genre:
Musical Revue
Director:
Greg Ganakas
Review:
Cast:
Ken Prymus, Liz Mikel, Dwayne Clark, Dioni Michelle Collins
Technical:
Musical Director: Darius Frowner; Set: Dex Edwards; Costumes: Clare Henkel; Lighting: Kirk Bookman; Sound: David Stephen Baker; SM: Andrew D. Haver; DTC Press: Paula Caballero
Critic:
Rita Faye Smith
Date Reviewed:
April 2004