If music be the food of love: ‘Play On!’ brings a taste of 1940s Harlem to Coventry’s Belgrade Theatre in a captivating musical extravaganza

Taking Shakespeare’s traditional gender-bending tale of Twelfth Night, and transporting it to the bustling music scene of 1940s Harlem, Play On! invites its audiences to witness a vibrant tale of fame, power, and love in the ‘man’s world’ of jazz music. With the classic tunes of Duke Ellington married with exceptional performances and vibrant choreography, this production, under the masterful direction of Michael Buffong, quite rightly brought the audience to its feet with a rousing standing ovation closing out the vibrant performance.

Arriving in the UK for the first time, over 25 years after opening on Broadway, Play On! tells the story of Viola (Tsemaye Bob-Egbe), a young singer wanting to make a name for herself in the jazz clubs of Harlem. The problem – which is at the centre of the musical’s action – is that the music scene is dominated by males, not least The Duke (Earl Gregory), the masterful songwriter who Viola is so desperate to impress. Calling upon her uncle Jester (Llewellyn Jamal) for help, Viola takes up a disguise in the male persona of Vyman in a bid to make herself known.

What comes next for Viola/Vyman, however, is a story of mistaken identities, romances, and a struggle to reach the levels of fame that the talented Lady Liv (Koko Alexandra) has reached ­– a singer at NYC’s Cotton Club who Viola could only dream of being as successful as. For Lady Liv, however, her life isn’t all that it seems on the surface either, and Buffong, in this fresh revival, weaves the characters’ stories together in a way that engages audiences beyond the original intentions of the show’s creators.

It is evident throughout that the joy of music seeks to drive Play On!, rather than the plot itself

Plaudits must go to Alexandra for her outstanding performance as Lady Liv, which captured both the character’s own emotions, and related it with Viola’s. Indeed, the two women were clearly linked by a common desire for fame, marred by the androcentric music scene of Harlem, and this is masterfully captured through both acting and song. Highlights of the show lie in songs performed by both women, from Lady Liv’s belting rendition of ‘I Ain’t Got Nothin’ But the Blues’ to kick off Act 2, through to Vyman’s ‘Prelude to a Kiss’, which acts not only as a key moment in the musical, but also shows off the vocal talents of Bob-Egbe, who exuded talent in the show alongside Alexandra.

Criticism of this show can only lie with the original book itself, with Cheryl L. West’s writing, at times, making for a static, somewhat predictable watch. It is evident throughout that the joy of music seeks to drive Play On!, rather than the plot itself, though this should not be a turn-off from watching the show – Duke Ellington’s catalogue of jazz classics, alongside Ashton Moore’s musical direction, makes for a wonderful jukebox musical, with top-class performances by the cast almost making me forget about the pedestrian nature of the plot at times. Kenrick H2O Sandy’s choreography also enhances the musical, with lively dance numbers pulling the audience into the Cotton Club and showcasing the talent of the six-strong ensemble cast.

The decision to bring the orchestra onto the stage to double as the Cotton Club’s jazz band is also a genius move

Though this is clearly a musical which relies on its music, the production seems astutely aware of this, with the show shining a light on its big musical numbers. ‘Rocks in My Bed’ and ‘In a Mellow Tone’ are stand-out songs from the production, both of which received rapturous applause and well-deserved standing ovations from the audience. Lifford Shillingford’s performance as Sweets came alive in his musical numbers, proving the musical prowess of a man who previously found fame alongside ‘00s garage act Artful Dodger and as a golden buzzer act on Britain’s Got Talent.

The decision to bring the orchestra onto the stage to double as the Cotton Club’s jazz band is also a genius move and shows how the small playing space of the Belgrade Theatre has been optimised to allow for a captivating watch. While at first, I was sceptical at the lack of set changes, this only helped to create connection between the audience and the performers, reflecting the idea of the characters having nowhere to hide in their performances and career. Emotions and awkwardness were laid bare, boosting the comedic nature of the show – which, again, may have fell flat without the production’s genius.

Buffong’s new vision of Play On! truly feels like a celebration of music, dance, and Black culture

Without knowing that the show was loosely based on Twelfth Night, I wouldn’t say that audiences will be drawn immediately into a Shakespearean world. While there are some moments where Shakespeare fans may take joy at spotting characters in their new Harlem guises, the show is firmly rooted on its own two feet, separate from the Bard’s world. This, however, is not a problem – in fact, the less Shakespearean the show felt, the better. Buffong’s new vision of Play On! truly feels like a celebration of music, dance, and Black culture, with the tour at the heart of Talawa’s ‘Black Joy’ season of work. The show and the cast’s talent certainly brought joy to me, as I am sure it will to many more audiences to come.

Play On! is performing at Coventry’s Belgrade Theatre until 5 October, before heading off on a UK tour with dates in Liverpool, Salisbury, Birmingham, Bristol, and London. Fans of good music and good times should definitely not miss this musical which, despite relying on a somewhat average book, provides a great night of entertainment and proves that music is, indeed, the food of love.