A reworking of one of Westcoast Black Theater Troupe’s most popular shows, this new Marvin Gaye biographical musical is stronger on details of his life and career. As almost a revue, Marvin Gaye: Prince of Soul won permission from the subject’s estate to use all his hit songs, and WBTT’s Nate Jacobs now employs them as well as enhanced dancing to delight Gaye’s many fans. Details of accomplished Sheldon Rhodes’ Marvin Gaye’s early years at home foreshadow his ultimate deadly treatment by his father (Leon Pitts II, sanctimoniously strict). Throughout Marvin’s life, his mother (Ariel Blue, admirable in song and pleading) attempts many interventions that will eventually be foiled. He’s always helped through life, though, by his brother Frankie (Brian L. Boyd, playing with star quality throughout). Playing multiple roles to document each vocal group Marvin joined, before hitting it big as a solo artist, are the versatile Michael Mendez, Raleigh Mosely II, and Henry Washington, who take on other ensemble roles or, in Mendez’s case, also as an announcer. Ian Fermy excels as Reese Palmer, important to Motown. Women in the cast act as high-school or other-time admirers of Marvin, and they make fine members of the ensemble. Alicia Thomas stands out as Marvin’s first wife Anna Gordy. Gwen Gordy is portrayed by Ashley D. Brooks, who later shines as singer Kim Weston. Important in Marvin’s both stage and off-screen, even husbandly life are Emerald Rose Sullivan’s Maxine Powell and Cindy Blabber along with Jai Shanae as the popular Tammi Terrell. Projected pix of record albums help tell their story. The most popular songs early in Act I are Gaye’s takes on popular singers whom he tried to emulate, but mostly to learn from. These include “His Eye Is on the Sparrow,” “Cry,” and “Mr. Sandman.” A few—like “Pride and Joy”—are by Marvin Gaye. There’s also a song sung by Mama Gaye and written by locals Nate Jacobs and James E. Dodge. Act II begins with the enormously popular “I Heard It Through the Grapevine” and makes Marvin’s ascent into stardom certain. All but one of the 17 songs are by, or co-authored by Marvin, who could now claim “There ain’t No Mountain High Enough” to rival his musical fame. The script also takes note of certain aspects of Marvin’s deterioration, and the production mirrors these as Gaye’s clothing and personal aspects change. He becomes famous for his tall silver boots with red lacing and his skull caps he thought discouraged baldness. Costumes are always a lavish treat at WBTT. This production keeps up the tradition and then some. The set is colorful with a great band seated onstage behind the proscenium and sometimes undulating platforms become stages on the extended stage floor. Atop the arch is a central projected typical drawing of Marvin Gaye as he was seen at concerts in the last part of his life, flanked by two screens for projections of telling photographs of biographical highlights. One can tell director Nate Jacobs loves the production’s subject and his music. Everyone in the cast delivers positivity. Donald Frisson’s choreography keeps everyone in physical action that’s both appropriate and attractive. The production is a little long, but audiences still love it. It will be interesting to see if another version of the Marvin Gaye story will someday appear. Right now, the show contains an abundance of riches.
