Cast adds depth to flat musical plot

There was a fundamental problem with “Ain’t Misbehavin.’ ” It had nothing to do with the actors, songs, set lighting or audio design.

The problem with “Ain’t Misbehavin’ ” is the musical itself. It takes wonderful songs by Fats Waller and simply represents them in period with a lot of razzle-dazzle.

To be fair, that might be your cup of tea if you always liked the song-and-dance of musicals and hated that pesky little plot underneath. For everyone else who wants, well, a plot or story, it presents a quandary.

Granted, it was a well composed show. The five principle vocalists, Joshua Boone, Jasmine Coles, Olisa Enrico-Johnson and Joshua Grace, were all outstanding. They sold you in their performances of Fats Waller’s songs. You felt their sorrow in “Black and Blue,” and their cheer in “Handful of Keys.”

The songs also play straight to stereotypes of the 1920s. They mention speakeasies, the movie “Reefer Madness,” jazz joints, Harlem and radio. The vintage 1920s costumes, which pay homage to Zora Neale Hurston and the flappers, are also well done.

The lighting and set design were amazing, as well. During transitions, the backdrop changes color from a sunset orange to a husky blue and then back. Big piano keys that mimicked skyscrapers lit up in time with the music. The wonderful eye candy heightened the performances and music.

The only distracting part of the performance I attended were technical difficulties with the microphones. I only mention this because it took me (and the rest of the audience) out of the moment, especially in the second act, where the music isn’t quite as good as the first. The energy got sucked out of the room for the last 20 minutes. It picked up in the finale, but it laid bare the problem with the concept of the show. Two years ago, Theatre VCU put out a production almost exactly like “Ain’t Misbehavin’ ” called “Smokey Joe’s Café.” The only difference between the two was that “Smokey Joe’s Cafe” used ’50s songs set in the same period. It was even more pointless than ‘Ain’t Misbehavin.’ ” The songs were so recognizable that you felt as if you’d accidentally stumbled onto the oldies station on the radio. “Ain’t Misbehavin’ ” felt fresh because Waller’s jazz music isn’t immediately identifiable. Yet, both were masking the fact that, at their heart, they were glorified jukeboxes set to wonderful eye candy. Patti D’Beck, who directed “Ain’t Misbehavin'” and “Smokey Joe’s Café,” is a veteran Broadway choreographer who has worked on some excellent productions. I would much rather see her redo, “A Chorus Line” or even “Grease.” At least those plays, however superficial, are about something.