No formal narrative? No problem for Lyric's downright delightful 'Ain't Misbehavin'

Brandy McDonnell, The Oklahoman
·6 min read

It's almost impossible to stop smiling and grooving in your seat during Lyric Theatre's tantalizing production of "Ain't Misbehavin'," a flashback musical revue with plenty of jump, jive and wail to satisfy practically any music fan and to downright delight jazz enthusiasts.

Celebrating its 60th anniversary season, Oklahoma's official theater is wrapping up its three-show summer run at Civic Center Music Hall with the Tony Award-winning jukebox musical that's as sparkling as a gin fizz and smooth as a three-piece suit topped with a bowler hat.

Directed by Monique Midgette, performances of Lyric's crowd-pleasing summer season closer continue through July 30 at the Civic Center. Here's what you need to know about Lyric's "Ain't Misbehavin.'"

From left, Will Mann and Paris Bennett dance in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.
From left, Will Mann and Paris Bennett dance in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.

How does 'Ain't Misbehavin'' work without a formal book?

The 1978 Tony winner for best musical, "Ain't Misbehavin'" is set in the Harlem Renaissance, the early 20th century emergence of New York City's Harlem neighborhood as a Black cultural hub. Spanning from the 1910s into the 1930s, it is considered a golden age for African American music, literature and art.  

Conceived by Richard Maltby Jr. and Murray Horwitz, "Ain't Misbehavin'" takes its ornery title — which also happens to be the terrific opening number — from the signature song of one of that era's top musicians, pianist and songwriter Thomas Wright "Fats" Waller.

The impressive song list — if you don't know the names, you'll recognize many of the indelible numbers once you hear them — spotlights tunes Waller either wrote or popularized during his tragically too-short time as an influential jazz innovator.

Unlike most musicals, the show doesn't have a true book or formal narrative. It's more of a musical time machine that transports the audience back to a 1920s Harlem ballroom, where an all-Black cast of five dazzling singer/dancers and a talented all-Black orchestra featuring a masterful pianist/music director regale the crowd with a veritable hit parade of captivating songs of the day.

Paris Bennett performs in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.
Paris Bennett performs in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.

Which 'American Idol' contender is starring in Lyric Theatre's 'Ain't Misbehavin'?'

After overflowing the Civic Center main stage with large ensembles for its first two summer shows, "The Sound of Music" and "The Prom," Lyric shifts dramatically with "Ain't Misbehavin'" and its five-person cast.

But the dynamite quintet packs plenty of power to keep "Ain't Misbehavin'" crackling along. The entertainers go by their own names in the show, and each one shines diamond-bright whether performing as a solo, duo or company. Their harmonies on the torch song "Black and Blue" are incredible to behold.

In her Lyric Theatre debut, Paris Bennett, a top five finalist on "American Idol" Season 5 who has performed on Broadway in "Ain't Misbehavin'," "Rent" and "The Rocky Horror Show," shows off the many facets of her big voice and stage presence on the ballad "I've Got a Feeling I'm Falling," the fast-paced "Cash for Your Trash" and the lover's lament "Mean to Me."

Bennett and Oklahoma City University alumnus Will Mann, who has appeared on Broadway in "Hadestown," "Memphis" and the 2019 Tony-winning revival of "Oklahoma!," prove a sweet pairing on the Waller classic "Honeysuckle Rose."

Mann, who previously appeared in Lyric's productions of "Hello, Dolly!," "Jesus Christ Superstar" and "Aida," got the audience belly-laughing with the hilarious comedic complaint "Your Feet's Too Big" and smiling wistfully on the piano ode "I'm Gonna Sit Right Down and Write Myself a Letter."

A fleet-footed dancer as well as a skilled singer, Ashley Tamar Davis, in her first Lyric show, practically made time stop with her romantic rendition of the timeless ballad "Keepin' Out of Mischief Now."

If Betty Boop could be brought to life as a curvy Black woman with a killer voice, she just might be Melrose Johnson. Also making her Lyric debut, Johnson's coquettish cover of Waller's "Squeeze Me" was a tantalizing highlight of the July 26 performance.

Another light-of-foot Lyric newcomer, Diva LaMarr threatened to steal the whole show with their playful and tuneful antics, from leading the company in the defiant jazz anthem “T Aint Nobody’s Biz-ness if I Do" to drawing the crowd into their "reefer madness" on the subversive "The Viper's Drag."

From left, Ashley Tamar Davis and Diva LaMarr dance in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.
From left, Ashley Tamar Davis and Diva LaMarr dance in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.

How did Lyric's 'Ain't Misbehavin'' recreate the Harlem Renaissance?

Music director and pianist Phillip Hall proves the high-octane engine that kept Lyric's "Ain't Misbehavin'" chugging along. Rarely has a man who spent most of his time with his back to the audience manage to dominate the spotlight so effectively.

Although they were sometimes teasingly concealed behind a gauzy gold curtain, the orchestra's capable players - Robert White IV on trumpet, Jarvis Hooper on trombone, Sabrii Anderson on clarinet and alto saxophone, James Murphy on alto and tenor sax, AJ Moyler on bass and Vernon Daniels on drums — more than earned their spot on stage.

Despite an occasionally muddled mix and a few microphone mishaps, the music is rightfully the star of the show. But the rest of the creative team helped bring the period setting to life. Costume designer Jeffrey Meek, set designer Uldarico Sarmiento and lighting designer Fabian J. Garcia channeled the spirit of iconic venues like the Savoy Ballroom right into the Civic Center.

Sharing the stage with the performers and helping to set the scene were several local Black entertainers, leaders and churchgoers who gamely dressed to the nines in their 1920s-era finery and helped recreate the whole Harlem Renaissance vibe.

Melrose Johnson performs in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.
Melrose Johnson performs in Lyric Theatre's production of "Ain't Misbehavin'" at Civic Center Music Hall.

How can people get tickets (including some free passes) to the show?

As with "The Prom," Lyric Theatre is offering free tickets to high school students to see "Ain't Misbehavin'" through the run of the show. Students can receive a free ticket to the performance of their choice by visiting the Civic Center Box Office with their student ID (or drivers license, learner's permit or other ID that has a date of birth) the day of the show. 

Tickets also are available at https://lyrictheatreokc.com/shows/aint-misbehavin.

From left, the cast of Lyric Theatre's production of "Ain't Misbehavin'" is Paris Bennett, Melrose Johnson, Will Mann, Diva LaMarr and Ashley Tamar Davis.
From left, the cast of Lyric Theatre's production of "Ain't Misbehavin'" is Paris Bennett, Melrose Johnson, Will Mann, Diva LaMarr and Ashley Tamar Davis.

What's next for Lyric Theatre?

After "Ain't Misbehavin'" closes July 30, Lyric Theatre moves back to the Plaza District for its fall show, the world-premiere production of "Concerto" Sept. 13-Oct. 1 at its Plaza Theatre.

Part of Lyric's ongoing New Works Initiative, Alan Olejniczak's fact-based musical drama centers on famed Russian composer Pyotr Ilyich Tchaikovsky and Nadezhda von Meck, the patroness who supported him.

Directed by Lyric Producing Artistic Director Michael Baron and produced in collaboration with Oklahoma City Philharmonic Music Director Alexander Mickelthwate, the play will take audiences behind the scenes as Tchaikovsky works on his "Violin Concerto in D major, Op. 35." The only violin concerto he composed, the polarizing 1878 piece is now regarded as a masterwork and has become one of the most beloved violin concertos in music history. 

'AIN'T MISBEHAVIN'' 

This article originally appeared on Oklahoman: OKC theater 'Ain't Misbehavin'' with summer closer: What to know