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‘The Collaboration,’ Paul Bettany and Jeremy Pope are Brilliant as Andy Warhol and Jean-Michel Basquiat

 (L to R): Paul Bettany, Jeremy Pope in 'The Collaboration' (courtesy of Jeremy Daniel)
(L to R): Paul Bettany, Jeremy Pope in The Collaboration (courtesy of Jeremy Daniel)

Whether you are an art aficionado, fan or critic, The Collaboration, by Anthony McCarten about Andy Warhol and Jean-Michel Basquiat’s joint effort to produce paintings together is an astonishing, dynamic production. Starring Paul Bettany (an Inspector Calls-West End) and Jeremy Pope (Choir Boy) and directed by Kwame Kwei-Armah, the two-act play currently runs at the Samuel J. Friedman Theatre, extended until 5 February. This production which hails from the Young Vic Theatre is not to be missed.

Warhol’s and Basquiat’s alliance was an unusual meld for both artists, who were at different points in their careers and who, according to McCarten in the first act, were a thesis/antithesis in their personal lives, perspectives and personalities. Because Warhol and Basquiat are icons who helped transform the art world as unique and indelible fixtures in their own right, The Collaboration is of seminal importance. Not only does the work identify aspects of the artists’ individual and collective graces, it also inspires further exploration into the lives of these individuals and their synergistic and productive relationship.

(L to R): Paul Bettany, Erik Jensen in 'The Collaboration' (courtesy of Jeremy Daniel)
(L to R): Paul Bettany, Erik Jensen in The Collaboration (courtesy of Jeremy Daniel)

Bettany and Pope’s prodigious acting skills and Kwame Kwei-Armah’s superb direction in helping them tease out memorable details of emotion, gesture and nuance allow the actors to live and breathe their characters onstage. Bettany and Pope are a pleasure to watch in their authenticity as their portrayals by the second act lift toward the heavens into the phenomenal. They inhabit Warhol and Basquiat with vulnerability and humanity. So comfortably do they don the artists’ ethos, one forgets the play is a stylization and evocation of two mythic figures who attained immortality in spite of themselves.

Indeed, the production takes us on a fantastic journey with intermittent elements of realism that all the more enhance the beauty and tragedy of these men, whose lives were cut short. Though Andy Warhol lived to be 58 years-old, Jean-Michel died of an overdose of heroin at twenty-seven. At the conclusion McCarten suggests that their individual and collective work and their ability to inspire and whimsically play off one another are an irrevocable, immutable and timeless gift to all of us.

 Jeremy Pope in 'The Collaboration' (courtesy of Jeremy Daniel)
Jeremy Pope in The Collaboration (courtesy of Jeremy Daniel)

The award-winning playwright (known for films The Theory of Everything {2014) Two Popes {2020} and the book writer of A Beautiful Noise) grapples with revealing their combined efforts in the short period of time they worked together. Indeed, the cultural mystique and reputation that precedes these men sometimes gets in the way. The more one knows about Warhol and Basquiat, the more frustrated one may become with McCarten’s presentation of their relationship, whose closeness is developed in filmed events of Bettany and Pope doing activities together, projected on the backstage wall and side walls during the intermission between Act I and Act II. Thus, if one leaves to get a drink or take a trip to the bathroom, the vital aspects of how Warhol and Basquiat’s relationship develops and how the men bond over time will be missed.

McCarten first introduces us to Warhol who visits the gallery of Bruno Bischofberger (Erik Jensen’s accent at times trips over itself). There, Andy inspects Basquiat’s paintings as Bruno attempts to sell him on his idea of a collaboration. Though Bruno makes it seem that Basquiat is “dying” to work with Warhol, we discover this isn’t the case. Bruno is massaging Andy’s ego. In his exchange with Bruno, Andy views 24 of Basquiat’s paintings which unfortunately we never see. Bettany looks out into the audience to “view” Basquiat’s work, as we imagine what Andy sees and watch his expressions of shock, excitement, amazement and jealousy, all in Warhol’s inimitable stylistic phrasing and being. Bettany captures the characteristic Warhol exclamations “gee,” “oh,” and retains enough of the soft spoken and demur air that we’ve seen in films of Andy Warhol that bring us toward acceptance of his portrayal, which deepens as the play embodies their philosophical tension working together.

Paul Bettany in 'The Collaboration' (courtesy of Jeremy Daniel)
Paul Bettany in The Collaboration (courtesy of Jeremy Daniel)

Bruno is the catalyst for their collaboration. And it is Bruno who comes up with the concept of how to market the exhibition of their works with a poster of both in boxing shorts with Jean-Michel’s chest exposed and Andy’s chest covered in a black T-shirt, as they hold up their boxing gloves ready for their match up of paintings on Mercer Street in New York City.

To persuade a reluctant Andy, Bruno uses flattery and guilt. He chides the avid filmmaker that he hasn’t picked up a brush in years. When Andy shrugs off Bruno’s flattery with self-deprecation that his reputation “is in tatters,” and “no one loves him any more,” Bruno wisely counters Andy’s defense and makes him think. Bruno suggests that it is Andy who doesn’t return the love given to him, an idea that intrigues Andy because it divulges arcane, inner knowledge about his soul which may be accurate. Bruno has hooked Andy toward working with Jean-Michel. But he is completely drawn in when Andy realizes that this is a golden opportunity to employ his skills as a filmmaker and interviewer. He will film their collaboration and record it for posterity.

(L to R): Paul Bettany, Jeremy Pope in 'The Collaboration' (courtesy of Jeremy Daniel)
(L to R): Paul Bettany, Jeremy Pope in The Collaboration (courtesy of Jeremy Daniel)

After Andy leaves Bruno’s gallery, Basquiat keeps his appointment with Bruno and we see how the art dealer works his persuasion to lure Jean-Michel to accept Andy as an artist-partner. Like Andy, Jean-Michel is not convinced. In fact, he is nonplussed at the idea of painting with a world renowned artist and is suspicious and recalcitrant, suggesting that Andy is mechanistic and repetitive and his prints lack soul. With the same push-pull, parry and thrust that he experienced with Andy, Bruno cajoles and uses reverse psychology on Jean-Michel. He is not willing to take “no” for an answer, though Jean-Michel accuses him of exploitation when Bruno suggests the project is monumental and will have “art lovers lined up from the gallery door to JFK.”

(L to R): Jeremy Pope, Paul Bettany in 'The Collaboration' (courtesy of Jeremy Daniel)
(L to R): Jeremy Pope, Paul Bettany in The Collaboration (courtesy of Jeremy Daniel)

Bruno stirs Jean-Michel on collaborating with Andy, using flattery and the unction that Andy really wants to work with Jean-Michael, though we have just witnessed that this is not true. Jean-Michel states he has nothing to say to Andy because they don’t “speak the same languages,” and he is not here to “bring Andy back from the dead.” Bruno, a master of human nature who pings Jean-Michel’s underlying vanity and competitiveness, finally reels him in with the discovery that Andy thinks Jean-Michel is “a threat to his entire understanding of art.”

The humor in both artist’s exchanges with the art dealer is organic, and the presentation of Bettany’s Warhol and Pope’s Basquiat are strikingly similar in their susceptibility to compliments, their egotism, their underlying insecurity with arrogance (Basquiat) and self-disdain (Warhol). As we watch the apparent tensions unfold, it is clear that Warhol and Basquiat may be sparring partners, but theirs is a match that is too coherent and intuitive not to work. Of course the idea that this will bring in tons of cash and, as Basquiat suggests, the bankers will be happy, emphasizes the themes of art’s pure expression versus art exploitation, and art as a business versus the pleasure and necessity to create art which drives both Andy and Basquiat. Meanwhile, as the inveterate money-minded dealer, Bruno encourages this promotional collaboration to harness their ambition and turn it into profits.

 Jeremy Pope in 'The Collaboration' (courtesy of Jeremy Daniel)
Jeremy Pope in The Collaboration (courtesy of Jeremy Daniel)

During Andy’s and Jean-Michel’s individual exchanges with Bruno dueling for advantage, themes and details in the artists’ lives surface. Andy’s mention of Valerie Solonas’ assassination attempt in 1968 that nearly took his life and caused him to look over his shoulder, expecting to be killed again is poignant and humanizing. The humanizing details continue throughout both acts and help to inform our understanding of the similarities between Warhol and Basquiat in their childhood experiences, for both were influenced by their mothers toward art, drawing and painting.

After the prologue with Bruno, the first act predominately takes place in Andy’s studio as the artists become familiar with each other, discuss their viewpoints, the idea of branding, what Andy’s art attempts and what Jean-Michel attempts with his art. Finally, they agree about what to paint and Andy sneaks in his filming as Jean-Michel paints and answers Andy’s questions. By the second act which takes place in Jean-Michel’s loft/studio/apartment, both artists have become close revealed in the film projections during intermission. At a crucial point in the second act and at Jean-Michel’s suggestion, they challenge each other good naturedly to take off their shirts and expose their wounds.

Erik Jensen in 'The Collaboration' (courtesy of Jeremy Daniel)
Erik Jensen in The Collaboration (courtesy of Jeremy Daniel)

It is a profound, humbling, bonding act. The icons are human and terribly vulnerable. We see Jean-Michel’s extensive surgical scar where he was injured, run over by a car. He had to recuperate for a long time, a trial which his mother got him through when he was 7-years-old by encouraging him to look at Grey’s Anatomy and draw what he saw to inspire his healing process. And we see Andy’s corset which he must wear to hold his organs in place and above it the long, disfiguring scars criss-crossing his torso, where the surgeons had worked feverishly to save his life from Valerie’s bullet which she shot into him at point blank range.

The second act evolves into an explosion of love and rancor between the two artists. When former girlfriend Maya (Krysta Rodriguez) comes to Jean-Michel’s place to settle up a financial arrangement with Jean-Michael, Andy tells her about their mutual friend Michael Stewart who is in a coma, beaten unrecognizable by cops because he was painting graffiti. Maya returns with the news of Michael’s death and pleads with Basquiat to go to the lawyer’s office with her to give testimony proving the cops murdered Michael. Basquiat refuses. Instead, he gives her the Polaroids of Michael’s mutilated face and body.

(L to R): Paul Bettany, Erik Jensen in 'The Collaboration' (courtesy of Jeremy Daniel)
(L to R): Paul Bettany, Erik Jensen in The Collaboration (courtesy of Jeremy Daniel)

Jeremy Pope’s Basquiat transforms into raw nerve endings of emotion in a heart wrenching explanation why he can’t go to the lawyer’s office. The jitters, the nerves, the frenetic energy that need to be displaced because of Jean-Michel’s painful identification with Michael as a fellow sufferer who has just passed is Jeremy Pope’s tour de force throughout the rest of the act.

Basquiat reminds Maya and Andy of the heartless reality of Black racism and oppression evidenced in police brutality against Michael. The spirit of hate and bigotry murdered Michael and that same spirit is ranging to murder him, as he, too, painted graffiti at one point early in his career. Pope conveys Basquiat’s tortured grief at the loss of his beautiful friend. He is torn between wanting to help the Stewart family and preserve his own life and destiny. When Basquiat accuses Andy of indirectly killing Michael, who he was trying to heal with his painting, not understanding, Andy is shocked at Basquiat’s recriminations.

Krysta Rodriguez in 'The Collaboration' (courtesy of Jeremy Daniel)
Krysta Rodriguez in The Collaboration (courtesy of Jeremy Daniel)

McCarten reveals what painting means to Basquiat and how he perceives art’s power in this tremendous scene that hearkens back to Basquiat’s childhood when he encouraged his own healing by drawing “healthy” organs from illustrations in Grey’s Anatomy. Painting is his way of controlling, resurrecting life, defining power constructs and capturing racism symbolically to effect its change. When Basquiat tries to evoke healing for Michael spiritually, Andy’s commercial, material filming destroys the spiritual power to heal his friend who dies. Thus, for Basquiat painting is totemic and primal, sacred and holy while Andy, tortured by Basquiat’s questions reveals that art to him is an escape from self-loathing into an austere identity which only momentarily eradicates the deformed ugliness he is.

Ironically, at the core of their art, MarCarten suggests they symbolize and do different things. Andy films/records history to understand the creative process and see humanity, while never accepting his own. Basquiat employs the creative process to heal himself and others. One process is not better than the other, nor are they mutually exclusive. As their “collaboration” proves, both are integral to each other. Combined, they establish the inherent beauty and singularity of both.

(L to R): Paul Bettany, Jeremy Pope in 'The Collaboration' (courtesy of Jeremy Daniel)
(L to R): Paul Bettany, Jeremy Pope in The Collaboration (courtesy of Jeremy Daniel)

This incredible scene extends into a dance between Andy and Jean-Michel who pushes Andy to validate and reveal himself as he pretends to film him, though Basquiat has destroyed all of Andy’s films of their collaboration. Once again Bettany’s Warhol and Pope’s Basquiat challenge each other in a rivalry that can never be equal because Andy is not Black. Though he suffers discrimination because he is gay, their bond has limitations. Andy leaves then comes back apologetically though Basquiat has been cruel to him. And it is in the last minutes of the play that there is a touching reconciliation. The inevitability of their lasting artistic achievement is brought to the fore.

To effect the characters, the director’s vision and the creative team’s execution of it works well. Warhol’s and Basquiat’s wigs thanks to Karicean “Karen” Dick & Carol Robinson and Anna Fleischle’s costuming are on-point. Fleischle’s minimalist scenic design of white walls serves to intimate Bischofberger’s gallery, Warhol’s Studio on Broadway and Union Square, and Basquiat’s loft apartment/studio on Great Jones Street. Props and paintings and works and furniture are added and taken away accordingly. Basquiat’s digs in the second act require the greatest set-up, as he lives in cluttered disarray, unlike Andy’s studio which is neat, clean and “almost sterile.”

Krysta Rodriguez, Jeremy Pope in 'The Collaboration' (courtesy of Jeremy Daniel)
Krysta Rodriguez, Jeremy Pope in The Collaboration (courtesy of Jeremy Daniel)

The second act reveals magnificent writing and magnificent acting. Throughout the concept of modern arts’ evanescence, that “everyone thinks they can do it,” and discussions of art critics attempting to nail down their work then toss it aside, are fascinating and richly profound. That both men were exploited and learned to then exploit themselves to become their own business models has currency for us today. Of course they became masters at self-exploitation. Considering that Basquiat’s brilliant light shined momentarily to leave a massive body of work and Warhol’s frenetic energy blasted an even more massive collection, their painting together was genius.

Because Warhol and Basquiat have been branded with their own mythology and entrepreneurship, understanding who they were, understanding their relationship remains elusive. Such comprehension cannot be gleaned in one play, nor should one expect to. However, McCarten creates a masterwork that Bettany and Pope use as a jumping off point to portray the divine and weak in both characters. They are stunning, beautiful, transcendent. Thus, to describe The Collaboration as a “biodrama,” as some critics have done, is wholly inadequate. Rather the play is McCarten’s vision enhanced by Kwame Kwei-Armah’s sensitive and profound acknowledgement of two artistic geniuses who collided in the tension of trying to do the impossible. And as a result of this collision, they formed something new. They integrated their own styles of art in these partnership paintings that embodied resonating themes at the core of their own lives.

(L to R): Jeremy Pope, Paul Bettany in 'The Collaboration' (courtesy of Jeremy Daniel)
(L to R): Jeremy Pope, Paul Bettany in The Collaboration (courtesy of Jeremy Daniel)

As the final sardonic irony at the play’s conclusion, while Bettany’s Warhol and Pope’s Jean-Michel paint into immortality, we hear the voice of an auctioneer, representative of the art world now on steroids, directional from what it was like when they were alive in the 1980s. Their work together is valued in the multi-millions, the irrevocable exploitation of both.

Kudos to Ben Stanton’s lighting design, Emma Laxton’s sound design, Duncan McLean’s projection design and Ayanna Witter-Johnson’s original music. For tickets and times go to their website

‘Ain’t Too Proud, The Life and Times of the Temptations’ is Just WOW!

Ephraim Sykes (kneeling), Ensemble, Ain't Too Proud

Ephraim Sykes (kneeling) and the cast of ‘Ain’t Too Proud’ (Matthew Murphy)

At the Imperial Theatre for 2 and 1/2 hours, there are musical numbers and dance moves that will so send you into the realms of the fabulous, I doubt you will want to come down to earth. The magic, history, poignance and joy displayed by the production company creatives of Ain’t Too Proud,  are bar none. The show is one of the best on Broadway.

Special accolades go to Des McAnuff for his seminal direction and staging and Sergio Trujillo for choreography. But the rising glory must land on the actors and ensemble responsible for the breathtaking portrayals of the “Classic 5 Temptations,” Derrick Baskin (as Otis Williams) James Harkness (as Paul Williams) Jawan M. Jackson (as Melvin Franklin) Jeremy Pope (as Eddie Kendricks) and Ephraim Sykes (as David Ruffin), not the least of which include those portraying the additional Temps. These are just fantastic, the “stuff that dreams are made of.”

By the conclusion of Ain’t Too Proud, I felt like I had spent time with loving family who passed, but for a moment were returned to me by an act of grace so I might delight in the music of a pivotal time in the tumultuous 1960s. Brought back to life by the astute genius and prodigious talents of the performers, one more uniquely magnificent than the other, each manifested the perfection of golden-voices and harmonies synced to fluid gestures.

Christian Thompson, Saint Aubyn, Ephraim Sykes, Jeremy Pope, Derrick Baskin, and Jawan M. Jackson in 'Ain't Too Proud, Des MAnuff, Sergio Trujillo, Otis Williams, The Temptations, Dominique Morisseau, Patricia Romanowski, the Legendary MotownCatalog, Sony/ATV Music Publishing

Christian Thompson, Saint Aubyn, Ephraim Sykes, Jeremy Pope, Derrick Baskin, and Jawan M. Jackson in ‘Ain’t Too Proud, directed by Des McAnuff (Matthew Murphy)

The story of The Temptations in Ain’t Too Proud (book by Dominique Morisseau based on the The Temptations by Otis Williams with Patricia Romanowski) is crucial to understanding our country’s vitality in progress through grinding work and sacrifice. And it is a reminder of how the human spirit can strive in the face of prejudice and discrimination to overcome and burgeon into greatness. The production highlights the personal sacrifice it took to be world renown, as Otis (Derrick Baskin) reveals very poignantly at the conclusion what happened in his life and in the lives of each of the “Classic 5.” And it is a story of possibilities, forgiveness and reconciliation.

Most importantly, Ain’t Too Proud is the chronicle of two individuals who united in a vision to transform The Elgins into The Temptations and ultimately crossover artists who would be play in London and other cities off US shores. Founder/organizer/creative genius in his own right, Otis Williams  was the “engine who could.” He is still going strong as the last of the “Classic 5.” He is still creating and has established the 24th iteration of The Temptations whose name he owns. The other individual is Berry Gordy. He is the maverick, genius promoter, visionary of the Motown label who had more hits and strategies up his sleeve than Houdini (one of them was songwriter Smokey Robinson of The Miracles) coupled with an acute sense of the historical and cultural timing to create his own brand of

When Williams and Gordy met in the men’s room of a place where Gordy was scouting talent, Williams introduced himself and lightening struck. R & B, and the future of soul was indelibly made and both men’s destiny as well as the destiny of black people in our nation was shaped forever by these two future Rock and Roll Hall of Famers: Gordy in 1988, Williams in 1989 as a Temptation.

Ain't Too Proud, The Temptations, The Supremes, Des Manuff

The cast of Broadway’s ‘Ain’t Too Proud (Matthew Murphy)

Motivated by money and the example of Civil Rights leaders like Martin Luther King Jr., Gordy understood that one way to best racism was through music. He helped to make those who sported the Motown label (The Supremes, The Miracles, The Temptations, The Commodores, Marvin Gaye, and so many more) ambassadors of good will. This was during a time when there was little good will to be had because of racial divisions and bigotry especially from those who embraced generational hatreds fomented by the Southern planter class. Jim Crow had even filtered to the North with redlining neighborhoods separating communities into wholly white or wholly black.

The planter class who lost their lucrative “peculiar institution”  along with their place of gentrified greatness after the Civil War, whipped up the discriminatory sentiments of economically impoverished or working class whites. These wealthy brainwashed whites to believe they shared a common heritage in being “white.” The irony was, none of the wealthy ever sat down to eat with the economically challenged whites or associated with them in the same society or culture. They were kept far away in the “low rent districts” on the other side of the railroad tracks near the town dumps or sewage treatment plants.

When Gordy has the Temptations tour parts of the South and their bus is shot at and nearly stopped (if it had been they wouldn’t have made it to the next day) we see the extent of the Jim Crow hatreds. These echoes from the past unfortunately have currency for us today. The show reminds us that we have progressed, but must remain steadfast with what has been accomplished, which certainly The Temptations and Berry Gordy’s incredible vision helped to achieve.

Jeremy Pope, Candice Marie Woods, ensemble, Ain't Too Proud, Des McAnuff, Otis Williams, The Temptations

Jeremy Pope and Candice Marie Woods (center) and the cast of ‘Ain’t Too Proud,’ directed by Des McAnuff (Matthew Murphy)

Ain’t Too Proud’s book by Dominique Morrisseau is based on the book The Temptations by Otis Williams with Patricia Romanowski. The show features the music and lyrics from “the legendary Motown Catalog.” These elements plus the grist and hard work to bring them together in one ineffable, miraculous meld make this a sensational production. As I walked out after the standing ovations, I saw folks still sitting in the audience either chatting excitedly or just staring off in delighted appreciation in awe at what they had just experienced.

What makes this such a sterling production is that the incredible performances of the “Classic 5” (Baskin, Harkness, Jackson, Pope, Sykes) are brought to life singing favorites in the chronological order of their growth and evolution. Otis Williams (Baskin) narrates this development, and we follow him as he leads us through the arc of their glory to become the #1 stars of the Motown label. The songs are recognizable. Some favorites include “Baby Love,” “Ball of Confusion” “For Once in My Life,” “Get Ready,” “If You Don’t Know Me by Now,” “My Girl.” As Otis (Baskin is just gobsmacking as he weaves the threads through to the present day) relays each event in their various lives, we see the parallels with the appropriate songs.

Ephraim Sykes, Jeremy Pope, Derrick Baskin, Jawan M. Jackson, James Harkness, Ain't Too Proud, Des McAnuff, Sergio Trujillo Dominique Morisseau, Otis Williams, Patricia Romanowski

Ephraim Sykes, Jeremy Pope, Derrick Baskin (forground) Jawan M. Jackson, and James Harkness in ‘Ain’t Too Proud,’ directed by Des McAnuff, book by Dominique Morisseau, based on the book ‘The Temptations’ by Otis Williams with Patricia Romanowski (Matthew Murphy)

So special is this song selection that pegs the songs to the emotional resonance of the group’s life situations! When we hear the backstory or see the dynamic of their personal relationships, the songs vibrate with energy and transcendence. This is powerfully effected with “Cloud Nine,” “I Wish It Would Rain,”  “What Becomes of the Brokenhearted,” and “War.”

Another thrilling element of the production is its retrospective of the 1960s, and how through the reflection of music, our culture and history changed forever. Music and transformation was mirrored during the 1960s movements, The Civil Rights and Peace Movements, as well as the Cultural and Sexual/Gender Revolution. The songs parallel, symbolize and manifest that time. Their lyrics and beauty, however, are for all time.

(L-R) Derrick Baskin, Jawan M. Jackson, Jeremy Pope, James Harkness, and Ephraim Sykes (front), Des MAnuff, Otis Williams, The Temptations, Dominique Morisseau

(L-R) Derrick Baskin, Jawan M. Jackson, Jeremy Pope, James Harkness, and Ephraim Sykes (front) in ‘Ain’t Too Proud,’ directed by Des Manuff (Matthew Murphy)

The director Des McAnuff folds in The Temptations’ viewpoints about Detroit’s unrest, Martin Luther King’s assassination and the rise of drugs which were flooding college campuses and spreading like a flood in all parts of the music scene. The film clips and projections of the Detroit riots, the marches, the King Jr. assassination are integral to the story of the Temptations.

Primarily, the show is a loving encomium for the “Classic 5” Temptations who were the founders of the original chart-busting group. It is also a reveal about how the genius of Motown and the transcendent talents of these five prodigiously hard-working performers shaped cultural attitudes against racism and prejudice at a time when the South was still lynching blacks, and when assassinations of Malcolm X, the Kennedys and Martin Luther King Jr. rocked the nation, fomenting profound sadness and hopelessness.

Through all of it, is the ineffable sound of this group and its add-ins as some left and others came back. After a decade out on their own, Kendricks (Pope) and Ruffin (Sykes) returned to perform. All the while The Temptations soared to Top 100 charts and even bested The Supremes’ position at Motown. Their music was the golden thread that transformed national attitudes toward race and reinforced that as citizens we can be decent. The Temptations drew opposing sides away from polar extremes. They encouraged that the shared love of R & B can take us beyond division and hatred.

Special kudos go to Orchestrations by Harold Wheeler and Music Direction and Arrangements by Kenny Seymour. Recognition also goes to Robert Brill (Scenic Design) Paul Tazewell (Costume Design) Howell Binkley (Lighting Design) Steve Canyon Kennedy (Sound Design) Peter Nigrini (Projection Design) and other creatives whose collaborations make the production a smash hit out of the park.

Ain’t Too Proud is at The Imperial Theatre (249 West 45th Street). This must-see show runs with one intermission. For tickets go to their website by CLICKING HERE.


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