Broadway Breakdown Podcast: "AIN'T MISBEHAVIN'" with André Jordan
Host: Matt Koplik
Guest: André Jordan
Date: February 16, 2023
Overview: The Joy and Legacy of "Ain't Misbehavin'"
In this high-energy episode, Matt Koplik and guest André Jordan dive deep into the legacy of the groundbreaking musical revue Ain't Misbehavin'. The show, which celebrates the music of Fats Waller, is explored from historical, personal, and artistic angles—with plenty of stories, laughter, and sharp observations. André shares his personal experience performing in the show, while Matt connects the musical's impact to Broadway history and culture.
Key Discussion Points and Insights
Opening Banter: The Diana Connection, Tee Shirts, and Broadway Fandom
- Matt opens with humorous, personalized banter about Diana The Musical and fan-designed merch.
- Both hosts joke about missed final performances, reacting to Broadway news, and their shared history with other podcasts ([00:44]–[03:13]).
"You want me to do that instead? And they were like, oh, yeah, yeah, do that instead. Yeah, the Ken Page track. It's fun." — André Jordan [05:37]
Personal Histories with Ain’t Misbehavin’
- André describes performing the show in 2014 at the Phoenix Theater and the joy of sharing the stage in such an ensemble piece ([03:27]–[04:07]).
- Matt shares that the show is a family favorite; his father saw multiple productions and passed the love on to him.
- The mutual consensus: The show deserves a high-profile revival.
The Show's Origins and Manhattan Theater Club
- Matt provides historical background:
- Ain't Misbehavin' was Manhattan Theater Club’s first transfer to Broadway in 1978.
- Initial hesitance within leadership due to concerns about commerciality versus artistic mission.
- Richard Maltby Jr.'s role as creator/director and anecdotes about casting the five original stars: Nell Carter, Ken Page, André De Shields, Charlayne Woodard, Armelia McQueen.
- Murray Horwitz’s role as the originator and co-creator of the show ([07:12]–[12:04]).
- Casting was collaborative; it was built on the strengths and real personalities of the cast members.
“He said, I wanted an odd number of people so there could always be mixing and matching of romantic partners. ... And it's totally right. And it's something that kind of always has been embedded into the DNA of the show.” — Matt Koplik [13:40]
Building the Revue: Development and Early Success
- The show was assembled organically with no traditional script, built during rehearsals.
- Maltby structured rehearsals to buy himself time (e.g., the complex arrangement of "Black and Blue") while coming up with Act 2.
- André tells an anecdote about randomly meeting Murray Horwitz, co-creator, at a bar ([09:05]).
Star Power and Replacements
- Original cast backgrounds and why Irene Cara did not transfer to Broadway with the production.
- Notable names who have stepped in over the years: Debbie Allen, Lillias White, The Pointer Sisters, Adrian Lennox.
- Discussion of Charlayne Woodard’s essential contributions to the original Broadway cast.
“She’s the full complete package. ... If I were to do Ain't Misbehavin’, I would want the Charlayne Woodard track.” — Matt Koplik [15:58]
Collaboration, Authenticity, and Black Artistry
- Emphasis on the importance of letting Black artists tell Black stories.
- The creative process was about drawing out the personalities, experiences, and talents of the original cast members rather than imposing strict blocking or a rigid script ([20:25]).
“When it comes to creating this, we're going to trust that you know ... how this is going to flow, how it's going to work.” — André Jordan [20:25]
- They reference The Color Purple revival and John Doyle’s similar approach of deference and collaboration.
Broadway Transfer, Tony Triumphs, and Community Hype
- Timeline: From Off-Broadway opening (Jan–Feb) to Broadway (May) to Tony Awards (late spring).
- The show’s rapid ascent generated massive buzz; Matt discusses how New York's embrace is essential for broader hit status ([22:49]–[29:57]).
- Tony ceremony moments: The community fully backed Ain’t Misbehavin’—audible excitement in audience reactions.
“...when Richard Maltby Jr. won director, the whole theater was like fucking on fire. And then when Ain't Misbehavin' won, everyone was like, yes.” — Matt Koplik [25:40]
Impact, Legacy, and the "Lightning in a Bottle"
- The revue set a new standard, influencing the trend of jukebox and bio-musicals but remaining largely unmatched.
- The importance of fresh energy and recognizing why certain revivals do or do not work over time.
- Comparison to other Broadway sensations: universal acclaim, community buy-in, and rare “lightning in a bottle” phenoms ([30:08]–[33:18]).
The Review and Jukebox Musical Wave
- Post-Ain’t Misbehavin’, Broadway saw many attempts to replicate its formula with little comparable success until much later (Mamma Mia!, Jersey Boys).
- The episode discusses what makes the revue format succeed: authentic artistry vs. formulaic biography structure.
“Ain't Misbehavin’ ... celebrates the excellence of that artistry just by, like, sheer joy of what an artist can do.” — Matt Koplik [37:33]
The Show’s Structure and Thematic Arcs
- Act 1: Vibrant, clubby downtown Harlem—joy and the energy of living.
- Act 2: The world of black success, the privileges, and the social realities, including subtle engagement with racism and the costs of success.
- References to favorite numbers, the intricacies of “Handful of Keys,” “Mean to Me,” “Your Feet’s Too Big,” and choreography moments.
“There are always opportunities ... to inform more about the relationships that are on stage.” — André Jordan [57:46]
- André highlights the performer’s experience: competition, celebration, and the thrill of outdoing each other vocally and performatively ([56:15]–[58:06]).
The Interplay of Comedy, Sexuality, and Emotion
- How the show weaves innuendo, cheeky humor, bawdy moments, and deeper emotions.
- Charlayne Woodard’s pivotal role as the “sex toy with limbs” character who evolves and self-actualizes in Act 2.
- The framing of dramatic and tender moments like “Keeping Out of Mischief Now” and “Black and Blue”—earnest rather than pandering ([46:09]–[47:55]).
“It's. She's learned now officially ... that no one respects the bimbo and no one takes seriously the mistress. So she's got to kind of get her act together...” — Matt Koplik [46:58]
Casting, Revivals, and Future Possibilities
- Discussion about the need for a new Broadway production and dream casting ideas (Tiffany Mann, Amber Iman, Q Darrington, Antoine Smith, Brianna Marie Parham, etc.).
- The unique requirements for a successful cast: exceptional vocal and dance abilities, charisma, organic comedy, and authenticity ([91:10]–[93:00]).
American Identity, Black Excellence, and the Audience
- Fats Waller’s navigation of white and Black audiences: never losing touch with authenticity even when “bottling it up” for mainstream acceptance.
- How Ain’t Misbehavin’ lets a Black narrative celebrate itself while warmly allowing the audience in—never angry, but undeniably confident ([77:30]–[78:46]).
- Candid reflections on white audience demographics and their engagement with the material in historical and modern contexts.
“It's not anger, because it feels like the artist never thought that the music was lost, that the art was lost. It's like, no, we've always had it. Yes, we've always had it. ...so we're not going to be angry about it because, like, what's there to be angry about?” — Matt Koplik [78:47]
Fun, Lucid Tangents and Memorable Moments
- Cheesecake Face Theory: On stars who look like they've had good cheesecake ([49:08]).
- Game Segment: "Six Degrees of Sally Murphy" and "Who Lives, Who Dies, Janine Tesori" – tracing connections between Ain't Misbehavin’, notable Broadway personalities, and other musicals ([108:40]–[113:15]).
- Matt’s “Daddy” Follies anecdote and Broadway family lore ([103:16]–[104:48]).
Notable Quotes & Time Stamps
- “That shit’s baller. ...Can I just do Yacht Boat? Like, that shit’s baller.” — Matt Koplik [16:18]
- “One never knows, do one?” — Ongoing show reference [42:53]
- “I came out of this on top, no matter what. ...I have pegged you, sir. I have pegged you hard.” — Matt Koplik [85:28]
- “So Andre, you do not say Amber Iman to me and then just walk away...” — Matt Koplik [91:43]
Timestamps for Important Segments
[00:44] – Introduction, Broadway banter
[03:27] – André's history with Ain’t Misbehavin’
[07:12] – Origins of the show, creative team, Manhattan Theater Club
[13:40] – The show’s organic rehearsal & collaborative casting
[22:49] – Broadway transfer, Tony ceremony, rapid-fire success
[37:33] – Show as a celebration of Black artistry
[56:15] – Performers’ experiences, competition, and ensemble magic
[77:30] – The show’s confidence, joy vs. anger in reclaiming music
[91:10] – Dream cast for a revival, contemporary Black theater talent
[108:40] – "Six Degrees" Broadway games
Conclusion: Why You Should Watch "Ain't Misbehavin'"
- An electrifying, joyful celebration of Black music and Broadway artistry.
- A gold-standard revue that is both entertaining and moving, requiring and rewarding top-level talent.
- Easily accessible: Full televised version is available on YouTube.
- Not just history—still relevant, still exciting, and still a showcase of American musical theater at its collaborative, communal best.
“Once you start, you’re going to be so happy you did. ...It's gonna hook you right on in.” — André Jordan [102:56]
The episode closes with well-earned praise for Nell Carter, a discussion of the show’s heart, and excitement for future revivals—ending, as ever, in pure Broadway style.