Review of ‘Play On!’: “A-list passengers take the B train”

The Duke Ellington jukebox musical lands on the London scene after several months on the road – bringing back the allure of the Jazz Golden Age through a tale of love, resilience and inspiration. Guillermo Nazara shares his views on the show, to let us know all its beats and bops make a success in his little brown book.

The highest love takes the highest sacrifices – even if that means betraying our own hearts. It’s an artist’s greatest paradox. In a world that doesn’t tolerate change or difference, those who pour their soul out every day for a living must however hide a key part of it in order to survive.

This month, London’s Lyric Hammersmith hosts the last stop of Play On!‘s national tour. A flashy jukebox musical taking audiences into the brassy glitz of the Jazz Golden Era, the show tells the story of a struggling female songwriter trying to make a name for herself in a man-dominated field. The hurdles are big, but so is her talent. And so, she will disguise herself and create a new persona, so she can become the successful woman she always dreamed of. Well, sort of…

There’s nothing new about this premise. We’ve heard it, seen it, read it, and done every possible thing that could be done to it already – I won’t ask questions… That’s not necessarily a flaw. Some tales are worth being told over and over again. It’s actually the way they are told that makes them stand out from the rest.

Play On! makes a fair attempt at bringing some degree of originality to its approach – ranging from an inviting setting to the alluring sounds of Duke Ellington’s immortal repertoire. But that’s not all that you need for a musical to properly work. And that’s where the first cracks start to emerge in its writing. As a idea, the plot is an interesting, even compelling subject. Its delivery, though, is a different matter.

Created by Sheldon Epps and with a book by Cheryl L.West, the production is able to transport us into the boogie-woogie grandiosity of the 1940s musical explosion. But that effort is hardly made by its script – which, in fact, serves more as an obstacle than a means to channel the electricity of a genre that changed the course of history in every sense of the word.

It feels very underdeveloped – as if the lines were more of an excuse to transition from song to song than trying to give insight and a suitable arc to its characters. They do contribute to the recount so it moves forward – but they do it in such an unnatural manner, it almost looks as if they’re aiming for the opposite. As a result, we are bewitched by its astounding musical numbers, but the moment the dialogue takes over, the spell is broken – and not with the smoothest touch.

Directed by Michael Buffong, the montage has a magnetic presence thanks, almost entirely, to its superb company – comprising both actors and its beautiful-sounding band. The same can’t be said about its staging, nonetheless. Featuring the most exhilarating choreography by Kenrick H2O Sandy, the visuals are slightly blemished by its not-too-appealing set design – lacking versatility and dynamism, and with a debatable colour palette that would have probably done better had it gone for a simpler, black-box-style choice.

Regardless of these issues, the piece can still be considered a rather enjoyable ride – as Ellington’s intoxicating tunes are paid the most excellent tribute through the cast’s astounding vocals and occasionally jaw-dropping dance acts. Among them, the highest praise goes to Cameron Bernard Jones in the role of Rev, boasting exquisite singing skills and commanding flair, as well as KoKo Alexander as Lady Liv, due to her inviting comedic charm and most captivating musical renditions.

A crescendo in black performing talent, but a blue-feeling diminuendo in execution, Play On! is still able to endure through the rousing rapport of the people it brings to its stage – but it’s a few steps away from becoming the haupe montage it could have been, by not putting enough reflections, in detriment of its pathos, profundity and, all in all, storytelling. It’s a solid homage to the legacy of the old man, but as much as its portrayals are a heavenly ride, this black and tan fantasy will remain, as of now, in the jazzy limbo.

All pictures credit to Ellie Kurtz.

Play On! plays at London’s Lyric Hammersmith until 22 February. Tickets are available on the following link.

By Guillermo Nazara