Review: ‘Ain’t Misbehavin’’ at Ebony Repertory Theatre

From left: Ledisi, Chester Gregory and Connie Jackson in "Ain’t Misbehavin’" at Ebony Repertory Theatre (Photo by Craig Schwartz)

Ebony Repertory Theatre’s “Ain’t Misbehavin’” — at the Nate Holden Performing Arts Center through June 8, in association with Fig Street Films — is a vibrant and deeply enjoyable celebration of Thomas “Fats” Waller’s music and cultural impact, as conceived by Richard Maltby, Jr. and Murray Horwitz.

Directed by Wren T. Brown, this production captures the spirit of the Harlem Renaissance with charm, confidence and heart. Rather than following a traditional narrative, the show moves through a series of musical vignettes that reveal Waller’s world and the joy, love and resilience at its center.

From left: Chester Gregory and Natalie Wachen in "Ain’t Misbehavin’" at Ebony Repertory Theatre (Photo by Craig Schwartz)

The performers are the driving force behind the show. While Grammy Award-winning artist Ledisi is the name that naturally draws attention, the rest of the performers — Chester Gregory, Connie Jackson, Marty Austin Lamar and Natalie Wachen — all deliver strong, fully committed performances.

Everyone on stage contributes something distinctive, and the chemistry among the cast members makes the material feel alive. Choreography, costumes and music all work together seamlessly, but it’s the performers’ presences that gives the production its warmth and personality. Standout musical numbers include “Ain’t Nobody’s Biz-ness If I Do,” “I’ve Got a Feeling I’m Falling,” “The Viper’s Drag,” “Your Feet’s Too Big” and “Black and Blue.”

Chester Gregory in "Ain’t Misbehavin’" at Ebony Repertory Theatre (Photo by Craig Schwartz)

Brown’s direction pays respect to the Harlem Renaissance with his sharp and intentional choices. He gives the cast room to play while keeping the pacing crisp and the energy steady. Blocking is effective and fluid, working in tandem with Dominique Kelley’s choreography. The stage never feels overcrowded while the full ensemble presence is always felt, and that balance helps the audience stay connected to the performance from beginning to end.

From left: Natalie Wachen and Marty Austin Lamar in "Ain’t Misbehavin’" at Ebony Repertory Theatre (Photo by Craig Schwartz)

The design elements are equally strong. The late John Iacovelli’s set design creates an elegant vintage atmosphere with dark wood paneling, patterned wallpaper and decorated curtains. Wendell C. Carmichael’s costumes reinforce that polished visual world, with tailored suits and dresses that bring out the glamour of the period. And Andrew Schmedake’s lighting is especially effective, shaping the mood of each number and enhancing the music beautifully.

The onstage live band is outstanding. Directed by William Foster McDaniel on piano, with Fernando Pullum on trumpet, Land Richards on drums, Weldon Scott on bass and Keith Fiddmont on saxophone, the ensemble brings richness, soul and unmistakable style to the show. The music does more than accompany the performers; it gives the entire production its pulse.

From left: Marty Austin Lamar, Connie Jackson, Natalie Wachen, Chester Gregory and Ledisi in "Ain’t Misbehavin’" at Ebony Repertory Theatre (Photo by Craig Schwartz)

With exceptional performances, design and music, what stayed with me most is how fully this production understands the power of music and community. “Ain’t Misbehavin’” is more than entertainment here — it’s a space where people come together to laugh, love and lean on one other while reflecting on the good and continuing to remain resilient. This is a polished, joyful and emotionally grounded production that I highly recommend.

Ebony Repertory Theatre’s “Ain’t Misbehavin’” continues through June 8 at the Nate Holden Performing Arts Center, 4718 W. Washington Blvd., Los Angeles, with shows most days 8 p.m. and Sundays at 7:30 p.m. For tickets and information call the box office at 323-964-9766 or visit EbonyRep.org. Run time is 2 hours, including intermission.