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"content": "\u003cp>Lillian Hellman wrote \u003cem>Watch on the Rhine\u003c/em> in 1941, intending it a loud warning to the United States when the country was refusing to join the war against fascism in Europe. As my co-host Jeffrey Edalatpour notes, the political is very personal in this story of an estranged family that reunites (holiday theme), only to find a traitor in their own home. If the play’s preachiness seems dated at times, it’s message about the dangers of inaction against totalitarianism seem very up to date. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12029.asp\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/242823131\u003cbr>\n\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "'Ain't Too Proud' Desecrates the Temptations at Berkeley Rep",
"headTitle": "‘Ain’t Too Proud’ Desecrates the Temptations at Berkeley Rep | KQED",
"content": "\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Berkeley Repertory Theatre’s world premiere of the Temptations musical 'Ain’t Too Proud' is high on sensationalism and low in intelligence.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This isn’t so much a review as a lament. It concerns the Berkeley Repertory Theatre’s world premiere of \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Ain’t Too Proud – The Life and Times of the Temptations\u003c/em>\u003c/a>, or as people have been calling it, “The Temptations musical.”\u003c/p>\n\u003cp>As theater it’s awful, a desecration of the spirit and otherworldly talent that coursed through the legendary R&B group over its long history — qualities most notably embodied in singers David Ruffin and Eddie Kendricks, and songwriters Smokey Robinson and Norman Whitfield.\u003c/p>\n\u003cp>But it is as entertainment that the musical is most worrying. High on sensationalism and low in intelligence, the almost three-hour-long production doesn’t leave space for us to think, reflect, or feel in any way. Instead, we must submit to a vision of theater that would rather have an audience of trained seals than human beings interested in other human beings.\u003c/p>\n\u003cfigure id=\"attachment_13809409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg\" alt=\"Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane Temptation.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP11-e1506332620304-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) explains and explains the many predicaments of being the sane, steady Temptation. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of the problem is how playwright Dominique Morisseau, and director Des McAnuff imagine other people. In many ways, there is only one character in the play, and that’s Otis Williams, the last surviving member of the original Temptations. Williams serves as our narrator for the evening. His book, \u003cem>The Temptations\u003c/em>, provides the basic blueprint for the script.\u003c/p>\n\u003cp>Everything we feel and understand in the show filters through Williams. He was the least talented of the Temptations, but blessed with a knack for moving projects along, whether assembling a group, keeping rehearsals going, or firing problematic members no matter how talented. You could say he’s a man with an iron-clad — though rather self-serving — thesis that he repeats to the point of insanity: The individual is always expendable and the group must be maintained at all costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an appropriate philosophy for a minor-league talent, or as the Ruffin character rightfully puts it: “No one screams when Otis Williams takes the stage.” And right there is the germ of a tragedy: an ordinarily talented man shares the stage with astounding artists, and is simultaneously seduced by their genius and revolted by their unpredictability. He survives, but the talent doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13809412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg\" alt=\"Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations.\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1020x584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1920x1099.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP4-e1506333567710-520x298.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Otis Williams (Derrick Baskin) seeks to control the legacy of all the Temptations. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Ain’t Too Proud\u003c/em> should have been a crazed, searing, R&B \u003cem>Amadeus\u003c/em>. The material is rich and promising. Yet Morisseau, McAnuff, and the producers refuse to let it loose. Instead, they tie the story of the maniacal Williams and the Temptations’ music to the dead aesthetics of the biopic and the jukebox musical, not to mention the false uplift of showbiz success.\u003c/p>\n\u003cp>Every last moment of the group’s long history is noted, as if a play were nothing more than a particularly detailed Wikipedia entry. Each hit song is delivered with maximum effect, but with little of the subtle spirit so present in the original recordings. And the last lines (as I remember them) are something about the Temptations being the most successful R&B group in history, for which the audience dutifully cheered both nights I attended.\u003c/p>\n\u003cp>But the most grievous and telling sin is how the musical adopts Williams’ limited perspective and reduces the many talented and fascinating people around him to buffoonish, cartoon characters.\u003c/p>\n\u003cp>Motown founder Barry Gordy and singer Diana Ross, as well as Robinson, Ruffin and Kendricks, all come across as little more than children. In innumerable scenes, the creative team portrays these greats as simpletons, conniving hucksters, and angry fools.\u003c/p>\n\u003cfigure id=\"attachment_13809415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg\" alt=\"In 'Ain't Too Proud' Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Frankling (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don't particularly come to life on stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP5-e1506334327327-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Ain’t Too Proud’ Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope), Melvin Franklin (Jared Joseph), David Ruffin (Ephraim Sykes), and Paul Williams (James Harkness) are real people who don’t particularly come to life on stage. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What they’re never allowed to be is recognizably human. Even when the show expresses empathy and a sense of loss, the aesthetics are pure soap opera and eschew the bitter complexities of tragedy. When Martin Luther King Jr.’s assassination breezes by, you realize how terrified the musical’s creators are of letting the audience rest and stay in a moment. Why couldn’t the night of the assassination be the whole piece?\u003c/p>\n\u003cp>None of this is the fault of the exceptionally talented performers. They’re a wonder and should be applauded for everything they bring to the stage.\u003c/p>\n\u003cp>What we should lament is the sheer waste of time, energy, and talent, and the way the Temptations’ music has been hijacked for what is clearly a brazen attempt at a Broadway hit. This is the only way \u003cem>Ain’t Too Proud\u003c/em> makes sense — not as art, but as a money trap for Times Square tourists.\u003c/p>\n\u003cfigure id=\"attachment_13809417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809417\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg\" alt=\"The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope) Paul Williams (James Harkness), Otis Williams (Derrick Baskin) and Melvin Franklin (Jared Joseph) were hitmakers who made art.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AP7-e1506334802433-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Temptations, (L to R) David Ruffin (Ephraim Sykes), Eddie Kendricks (Jeremy Pope), Paul Williams (James Harkness), Otis Williams (Derrick Baskin), and Melvin Franklin (Jared Joseph) were hitmakers who also made art. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep has amazing theatrical resources. The institution’s stagecraft and technicians are exceptional. The talent and tools are all on display here, from the rotating sets, to the complex video projections, to the sound design worthy of a stadium concert.\u003c/p>\n\u003cp>But with \u003cem>Ain’t Too Proud\u003c/em>, it’s all in the service of the theatrical equivalent of baby food laced with sugar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ain’t Too Proud’ runs through Sunday, Nov. 5. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org/index.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Aug. 31-Oct. 22:\u003c/strong> Both my co-host Jeffrey Edalatpour and I are keen to see the songs of The Temptations performed live by talented actors and dancers in \u003cem>Ain’t Too Proud: The Life and Times of the Temptations,\u003c/em> a world premiere about the band’s early days at Berkeley Repertory Theater. But we’ve both been underwhelmed in the past by jukebox musicals. (\u003cem>Motown\u003c/em>, the Berry Gordy produced musical, which covered some of this same ground, was hugely disappointing.) Still, we have hope, because playwright \u003ca href=\"https://www.nytimes.com/2017/08/21/theater/dominique-morisseau-the-first-time-i-imagined-i-was-pregnant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dominique Morisseau\u003c/a> is writing the book, and she’s known for her three-play cycle about her hometown \u003cem>The Detroit Projects\u003c/em>. As Jeffrey notes, she’s not going to ignore the social and political context of being black in America at the height of the civil rights movement. It’s no surprise, also, that the production team is loaded with Broadway veterans like director Des McAnuff (\u003cem>Jersey Boys, Guys and Dolls, Jesus Christ Superstar\u003c/em>), and Broadway is probably where this show will go after its Berkeley run. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fxe60GVW034&t=121s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Aug. 31-Oct. 22:\u003c/strong> Both my co-host Jeffrey Edalatpour and I are keen to see the songs of The Temptations performed live by talented actors and dancers in \u003cem>Ain’t Too Proud: The Life and Times of the Temptations,\u003c/em> a world premiere about the band’s early days at Berkeley Repertory Theater. But we’ve both been underwhelmed in the past by jukebox musicals. (\u003cem>Motown\u003c/em>, the Berry Gordy produced musical, which covered some of this same ground, was hugely disappointing.) Still, we have hope, because playwright \u003ca href=\"https://www.nytimes.com/2017/08/21/theater/dominique-morisseau-the-first-time-i-imagined-i-was-pregnant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dominique Morisseau\u003c/a> is writing the book, and she’s known for her three-play cycle about her hometown \u003cem>The Detroit Projects\u003c/em>. As Jeffrey notes, she’s not going to ignore the social and political context of being black in America at the height of the civil rights movement. It’s no surprise, also, that the production team is loaded with Broadway veterans like director Des McAnuff (\u003cem>Jersey Boys, Guys and Dolls, Jesus Christ Superstar\u003c/em>), and Broadway is probably where this show will go after its Berkeley run. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fxe60GVW034'\n title='//www.youtube.com/embed/Fxe60GVW034'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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