Ain't Misbehavin'

When the onstage band strikes up the first notes to Ain't Misbehavin', all one can do is echo the words of the press materials: "this joint is jumpin.'" A polished and well-cast production is drawing full houses to Milwaukee's Cabot Theater, as well it should. This is the second time that Skylight Opera Theatre's has staged Ain't Misbehavin'. If the1994 show was anything like the current production, no wonder it busted the box office. This time, the show has a musical pedigree in the form of Neal Tate, whose work goes back to the days of Cab Calloway. Tate did orchestrations for a number of Broadway shows over the years, including "Ain't Misbehavin." It is a treat to hear him "tickle the ivories" in this Milwaukee production.

Ain't Misbehavin' captures the sound and the ambiance of 1930s Harlem. One can see further evidence of the era in Megan Wilkerson's cleverly shabby set design and especially in Melanie Schuessler's costumes. She should win an award just for her work constructing the fluffiest boas in memory. It should be noted they are put to good use by two of the ladies in the show during one of the musical numbers.

Ain't Misbehavin' showcases the work of Fats Waller, one of the most prolific composers of his era. Within a relatively brief time frame (he died young), he wrote the title song, "Honeysuckle Rose," "Your Feet's Too Big," and "T'Ain't Nobody's Business If I Do." These standards all receive excellent treatment from the cast, which includes a blend of Skylight favorites and newcomers. When he does a solo number, such as "The Viper's Drag," Ronn Smith is a show stealer. He is blessed with a dancer's natural grace as well as an excellent voice.

In the first scenes, it's difficult to judge the quality of the voices, since the performers are clearly "saving" them for later in the show. (This is probably the result of a difficult week of rehearsal and two performances before this critic caught the Sunday matinee.) At any rate, the show is an unabashed treat in every respect. Credit goes to Neal Tate for his musical direction, Andre Tyson for his witty choreography, and director Sheri Williams Pannell for creating clearly-identified characters (very difficult when the dialogues consists of a phrase here and there inserted between the songs). The band is terrific, too.