This musical captures the soul-stirring journey of The Temptations – an invigorating celebration of music

“Everyone dies but the music stays alive” the final lines by the narrating character, Otis Williams, brings out the  essence of The Temptations’ spirit. Based on the book written by Dominique Morisseau, Ain’t So Proud– the  musical captures the life journey of the famous Black American band, The Temptations, from the streets of Detroit to one of the most successful bands of their time. It recounts the struggles and victories the  performers overcame throughout their careers, including interpersonal problems, the civil rights movement,  and the shifting face of the music business. 

As I stepped into Prince Edward Theatre, I was greeted by its magnificent splendour adorned with opulent Art  Deco architecture, a breath-taking fusion of red and gold. To experience a performance that tells the story of  the Black movement through the universal language of music within such a setting is a celebration within its own right. The Prince Edward Theatre is located in central London with a vast capacity; to a large extent  seemed to have non-interrupted views, with areas allotted for a private experience. However, the masterful  black and white projection combined with impeccable light design effortlessly transports you to the glorious era of The Temptations, enveloping you in a captivating time capsule that makes you experience the time, as if  dancing with the footsteps of legends. 

Each performer brought an unmatched degree of brilliance, honesty, and charisma to their parts, and the performances of all the characters were nothing short of extraordinary. While re-enacting the band’s journey,  the choreography paid intricate attention replicating the signature moves of the band. Having said that, lead singer characters Al and David Ruffin carried the most impactful and melodious voices. The musical seizes the  group’s love for music eloquently through it’s great hits including ‘Ain’t Too Proud to Beg’, ‘Papa was a Rolling  Stone’, ‘Just my Imagination’, and ‘My Girl’ to name a few. The musical portrays The Temptations were rather a ‘movement’, not merely a musical group, during the  revolutionary era of the 1960s and 70s while looking from the lens of Black cultural significance. However, I felt  a miss of female representation, inadvertently overshadowing the invaluable contributions of women. Having said that, the within its all-round performance, a rather captivating rendition as a concert of The Temptation’s ever-alive music makes you want to dance through and through. I’d like to end by quoting a  scene from the performance that, in my opinion, captured the soul of the production: “The music is colourblind… You don’t have to be an activist to make a difference.”