If I was to say the phrase “Five Guys” to most of you, you would probably say that you prefer In-N-Out. When I think of “Five Guys”, however, I don’t think burgers. I think An American In Paris. Let me explain why.
Yesterday afternoon, I saw the closing performance of the Clarke Peters (FB)’s 1992 Tony-nominated musical Five Guys Named Moe at Ebony Repertory Theatre (FB). It was a delightful performance, high energy, great music, wonderful singing, dancing, and I left on a high. But I also left thinking about An American in Paris.
When I saw An American In Paris at the Hollywood Pantages (FB) recently, I wrote “We went expecting to see a musical. What we saw was a spectacular dance show wrapped in the trappings of a musical about love in Paris after WWII. ” That didn’t make it bad, mind you. It was a wonderful dance show with wonderful music. I just had an inconsequential plot.
Five Guys Named Moe is a musical that celebrates the music of bandleader Louis Jordan. As they write in his entry at the Rock and Roll Hall of Fame, “In the Forties, bandleader Louis Jordan pioneered a wild – and wildly popular – amalgam of jazz and blues. The swinging shuffle rhythms played by singer/saxophonist Jordan and his Tympany Five got called “jump blues” or “jumpin’ jive,” and it served as a forerunner of rhythm & blues and rock and roll.” Five Guys Named Moe delights in this music. It showcases songs Jordan wrote. It exaults in songs that he made famous. From “I Like ‘Em Fat Like That” to “Pusk Ka Pi Shie Pie” to “Saturday Night Fish Fry” to “Choo, Choo, Ch’bookie” to the classic “Caldonia” (“What!”) — the show is just a rollicking dance and music festival with that leaves you happy.
However, the plot — well — the plot itself is meaningless. A down on his luck alcoholic, Nomax (Obba Babatundé (FB)), has forgotten the birthday of the woman he loves. The Five Moes — No Moe (Jacques C. Smith (FB)), Big Moe (Octavius Womack (FB★; FB)), Little Moe (Trevon Davis (FB★; FB), Four-Eyed Moe (Rogelio Douglas, Jr. (FB★; FB)), and Eat Moe (Eric B. Anthony (FB)) — pop out of the radio to teach him the error of his ways. Through song and dance. [And even that inconsequential plot is abandoned for most of the second act when they do their “gig”].
And you know what? You don’t care about the plot. The music is great. The singing is great. The dance is great. The band* was smokin’. The audience was dancing (especially two really cute twin little girls up in front). You walk out with a big smile because the execution is perfection. The production team cast well, and the talent shows.
By the way, it wasn’t just the actors. When I said the band was smokin’, I meant it. They got a chance to jam at the enter-acte, and after the curtain they let loose with a closing number that highlighted each member and just swung. The six on the band platform — Abdul Hamid Royal (FB) [Musical Director, Piano]; Louis Van Taylor (FB) [Saxophone / Clarinet]; Christopher Gray [Trumpet]; Chris Johnson (FB) [Trombone]; Land Richards (FB) [Drums]; and Ian Seck/FB [Bass] — complemented the six actors perfectly.
On the other side of the production, things were pretty simple. Edward E. Haynes Jr. scenic design was simple: a scrim, a few props, some benches. Similarly, the costumes by Naila Sanders (FB) were pretty simple: suits, tuxes, and matching plaid jackets for the Moes. The sound design by John Feinstein/FB was as it should be: mostly unnoticeable, although for a bit during the first act it sounded …. less than full range. I’m guessing that was a speaker problem. Most impressive on the design team was the lighting design of Dan Weingarten. Weingarten made wonderful use of the movers and gobos above the stage to create some wonderful visual effects that were just a delight to watch.
The production was directed and choreographed by Keith Young (FB). Dominique Kelley (FB) was the associate choreographer. Other relevant credits: Ed de Shae (FB) — Production Stage Manager; Ross Jackson (FB) — Assistant Stage Manager.
Ebony Repertory Theatre (FB) is under the artistic direction of Wren T. Brown (FB), whose 53rd birthday was yesterday. At the conclusion of the show, the cast and crew celebrated by leading the audience in the traditional Happy Birthday song (alas, not the Birthday Cake Polka, although that would have been cool). Mr. Brown introduced his family, and you could hear the gospel training in his voice — it was wonderful to hear. I do hope to be back at his theatre.
Alas, I caught the final performance of Five Guys Named Moe. But I’ll note that if you like the music of Louis Jordan, the new Big Bad Voodoo Daddy album Louie, Louie, Louie celebrates the music of Louis Jordan, Louis Armstrong, and Louis Prima.
***
Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.
Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.
Upcoming Shows: June? Three words: Hollywood Fringe Festival (FB). This is the current planned remaining schedule for HFF. To see the full Fringe guide, click here.
- Saturday, June 17: 3:30p – Zombie Clown Trump | [D/K] ⇒ 5:30p – Conversations ‘Bout The Girls | [D/K] ⇒ 7:30p – Inversion | [D/K]
- Sunday, June 18: Fathers Day – Open
- Saturday, June 24: 11:30a – Hello Again, The Songs of Allan Sherman [D/K/R] ⇒ 3p – Slightly Off Broadway (Chromolume) | [D/K/R] ⇒ 5:30p – Trump in Space | [D/K/R] ⇒ 7p – The ABCs | [D/K/R] ⇒ 9p – Reasons to be Pretty / Maxwelton | [D/K/R]
- Sunday, June 25: 2p – Transition | [D/K] ⇒ 4p – Khant Hotel | [D/K] ⇒ 5:30p – Bachelorette by Leslye Headland | [D/K]
With respect to the Hollywood Fringe Festival: I’d like to recommend Hello Again, The Songs of Allan Sherman. Linden, the artist, did the show for our synagogue Mens Club back in October, and it was a delight. So good, in fact, that we’re going to see the show again during Fringe. If you want a fun show full of parody music, see this one.
July brings us back to normal theatre (° = pending confirmation). We start with The Voysey Inheritance at Actors Co-op (FB) the first weekend. The second weekend is currently open, but we’re thinking about Animal Farm at Theatricum Botanicum (FB). The third weekend brings Peter Pan at Cabrillo Music Theatre (FB) and Ruthie and Me at Actors Co-op (FB). The fourth weekend of July has a hold for Motown/Miracle | Harlem/Renaissance from Muse/ique (FB). The last weekend of July brings The Last 5 Years at Actors Co-op (FB). August will (hopefully) start with Brian Setzer° at the Hollywood Bowl (FB) on August 2, followed by The Curious Incident of the Dog in the Night at the Ahmanson Theatre (FB) on the weekend. We may also squeeze in On The Twentieth Century at the Pan-Andreas Theatre in Hollywood from Proof Doubt Closer (FB), as a friend is in the cast. The second weekend of August? What made sitting through The Bodyguard worth it: Hamilton at the Hollywood Pantages (FB). I’m still scheduling September, but so far we have The 39 Steps° at Actors Co-op (FB) and Pacific Overtures at Chromolume Theatre (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!
As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.
