Fats Waller was a mercurial kind of guy.
One moment the singer/composer, who reached the height of his popularity during the Harlem Renaissance, would sing about big feet - "Say up in Harlem at a table for two/There were four of us/Me, your big feet and you."
He'd transition into a tune about smoking reefer the next - "I dreamed about reefer five foot long/A li'l high but not too strong/You'll be high but not for long/If you're a viper. ..."
Then he'd lament the pain of racism - "I'm so forlorn/Life's just a thorn/My heart is torn/Why was I born?/What did I do to be so/Black and blue?"
Waller could keep your interest, as does Arizona Theatre Company's production of "Ain't Misbehavin', " a sizzling musical revue of Waller's songs.
The cast of five immensely talented and energetic performers went through 30 songs in two hours. Each of those songs was given full life in this Kent Gash-directed production.
The first act warms up the audience with such showstoppers as "Honeysuckle Rose" (Ken Robinson's rendition is a bit naughty and very delicious), "Cash for Your Trash" (sung with a wit and energy by Angela Grovey) and a rousing "The Joint is Jumpin', " performed by the whole company.
But it's the second act that totally seduces with its bluesy songs, jazzy renditions and abundance of attitude and heart.
A buff and graceful Christopher L. Morgan came out sans shirt, his tongue flicked and his hips moved slowly as he sang "The Viper's Drag." Morgan's mixture of humor and lasciviousness was intoxicating.
Robinson's silly take on "Your Feet's Too Big" made it clear why Waller was so loved for his comedic tunes; Grovey and Aurelia Williams rocked it with "Find Out What They Like"; and Rebecca Covington had a sad earnestness in "Keepin' Out of Mischief Now."
But it was when all five sat down in chairs and sang "Black and Blue," with no gimmicks, little movement and great feeling, that the wonder and power of Waller's music really hit you.
Music director Darryl G. Ivey played the piano with aplomb, and led a very hot six-piece band. Austin K. Sanderson's bright costumes moved with grace and spoke of the era and spirit of the music.
This play first hit the boards back in 1978, and the Broadway production snagged all sorts of awards. This ATC production of "Ain't Misbehavin' " shows us that, 31 years later, it hasn't lost any of its life or relevance.
