When Ain’t Misbehavin’ first arrived on Broadway in 1978 starring Nell Carter, Ken Page, Amelia McQueen, Charlaine Woodard and André DeShields, it introduced a new generation to the music, humor and enduring brilliance of jazz icon Thomas Wright “Fats” Waller. Nearly five decades later, Playhouse 615’s production proves these songs haven’t lost a step. Under the direction of Mitchell Vantrease and featuring Yolanda Treece, Elliott Robinson, Lisa Graham, Raven Buntyn and Isiah Rankin, this vibrant revival is equal parts concert, cabaret, history lesson and celebration, delivered by a cast that understands the assignment and then some.
Unlike a traditional book musical, Ain’t Misbehavin’ doesn’t tell Waller’s life story. Instead, it uses his catalog as a lens through which to explore romance, heartbreak, joy, humor, resilience and Black artistry. The result is a revue that feels both nostalgic and surprisingly contemporary.
One of the production’s most charming touches is its homage to the aforementioned legendary original Broadway cast. Rather than adopting character names, or using their own as is often done in regional productions, the performers are billed as playing Nell, Ken, Andre, Armelia and Charlaine, honoring the now-iconic artists who first introduced these songs to Broadway audiences.
From the moment the company launches into the title number, followed by the energetic “Lookin’ Good But Feelin’ Bad,” audiences are welcomed into Vantrease’s intimate jazz club atmosphere.
Isiah Rankin, pulling double duty behind the scenes as the show’s music director helps shape a score that feels authentic, alive and wonderfully spontaneous. Performing as Andre, Rankin brings an easygoing best-friend, wing-man energy to nearly every scene he inhabits. Whether leading the slyly playful “T Ain’t Nobody’s Biz-ness If I Do,” joining the delightfully flirtatious “How Ya Baby,” or bringing swagger to “The Viper’s Drag,” he consistently demonstrates both vocal confidence and magnetic stage presence.
Yolanda Treece, performing as Nell, emerges as one of the production’s most engaging personalities. Possessing a remarkable ability to connect with the audience through nothing more than a wink, an eye-roll or a flirtatious grin, Treece makes every moment feel personal. Her spirited rendition of “Cash for Your Trash” earns plenty of laughs, while “Mean to Me” reveals a deeper emotional vulnerability. By evening’s end, it becomes clear she knows exactly how to work a room…and we’re all better for it.
Lisa Graham’s Armelia is powered by boundless energy and a voice capable of effortlessly navigating Waller’s jazz-infused melodies. Her playful “Squeeze Me” is an Act 1 standou, while later numbers such as “Find Out What They Like”, alongside Treece showcase both her comic timing and vocal precision. Graham consistently finds fresh colors within each song, making every appearance memorable.
Raven Buntyn proves herself the show’s most versatile performer. One moment she’s the provocative, self-assured Charlaine commanding attention during “Yacht Club Swing.” The next she’s leaning into a more innocent, delightfully ditzy persona. Buntyn handles every shift seamlessly, while her heartfelt “Keepin’ Out of Mischief Now” offers one of the evening’s loveliest vocal moments.
As Ken, Elliott Robinson demonstrates remarkable ease navigating both sides of Waller’s catalog. He is equally comfortable delivering laugh-out-loud comedic lyrics as he is tackling material with deeper emotional resonance. His charming performance of “Honeysuckle Rose” helps establish the production’s playful tone early on, while “I’m Gonna Sit Right Down and Write Myself a Letter” becomes one of Act Two’s most satisfying highlights.
The ensemble numbers are where the production truly catches fire. “The Joint is Jumpin’” practically explodes off the stage, delivering exactly the kind of high-octane energy audiences hope for when attending a show built around Waller’s music. As the Act 1 closer, it leaves the audience anticipating Act 2. Likewise, “Spreadin’ Rhythm Around” and the finale “Honeysuckle Band” showcase the cast’s impressive vocal blend and infectious enthusiasm.
Comedy plays a significant role throughout the evening, and two numbers in particular generate some of the production’s biggest laughs. Robinson’s “Your Feet’s Too Big” is a crowd-pleasing delight, while “Fat and Greasy,” featuring Robinson and Rankin, gleefully breaks down the wall between performers and audience. The interactive nature of both songs perfectly complements the nightclub setting and creates some of the evening’s most memorable moments.
Yet beneath the humor and exuberance lies something far more profound. Late in the second act comes “Black and Blue,” arguably the emotional centerpiece of the entire production. Presented simply and sincerely, the number lands with considerable power. Suddenly, the playful flirtations and comic observations that precede it take on added depth and context. It serves as both reflection and reminder, honoring the experiences woven throughout Black history while underscoring the cultural significance of Waller’s artistry. The cast delivers the number with remarkable restraint and honesty, creating one of the production’s most affecting moments.
The decision to position the musicians directly onstage pays immediate dividends.
Anchoring the evening are three exceptional musicians: John Todd on piano, Rick Malkin on drums and Owen Ananich on bass. Their presence onstage transforms the production from a traditional musical into something closer to a genuine Harlem nightclub experience. The trio doesn’t merely accompany the performers—they become an integral part of the storytelling.
Vantrease’s direction remains focused throughout. Even without a traditional narrative, he ensures every song functions as a miniature story. His choreography complements rather than overwhelms the material, allowing the performers and music to remain front and center. Especially entertaining a near-exactly move-for-move homage to the original Broadway company’s piano-ography during “Handful of Keys”.
Technically, the production embraces simplicity to excellent effect. Conceived by Ann Street-Kavanagh, Craig Hartline and Vantrease, the set utilizes silver ladder-style lighting battens wrapped in string lights and draped with shimmering fabric that forms an elegant arch around the onstage band. Stage right features what appears to be a fully stocked bar accompanied by a pair of stools beneath a sign reading “Fats Club.” Though one might playfully argue the sign could use an apostrophe after the “s”—or perhaps should have been named “Club Fats”—the overall effect contributes nicely to the immersive nightclub atmosphere.
Complementing the set beautifully is Carter Stumbo’s mood-enhancing lighting design, which effortlessly shifts from playful and vibrant to intimate and reflective depending on the emotional demands of each number. Strumbo doesn’t seem to leave out a single color in the rainbow in his lighting design. Each one perfectly enhancing the mood and emotion of the song being performed.
Playhouse 615‘s Ain’t Misbehavin’ is being presented during National Black Music Month and with closing weekend coinciding with Juneteenth celebrations, Ain’t Misbehavin’ arrives at a particularly meaningful moment. More than a revue, it serves as a celebration of an artist whose influence continues to echo throughout American music.
Playhouse 615’s production succeeds because it never treats Waller’s music like museum pieces. Instead, these songs feel vibrant, immediate and alive. Powered by a terrific cast, outstanding musicians and thoughtful direction, Ain’t Misbehavin’ offers audiences exactly what its title promises: an evening of irresistible fun with plenty of heart underneath the swing.
Whether you arrive as a longtime fan of Fats Waller or simply looking for an entertaining night at the theatre, this production sends audiences home smiling, humming and perhaps even tapping their too big feet all the way to the parking lot. Not gonna lie—after all, it’s a sin to tell a lie—since attending an opening weekend performance of Playhouse 615‘s Ain’t Misbehavin’, the music of Fats Waller has been a constant on my playlist.
Ain’t Misbehavin’ runs June 5-21 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) with Friday and Saturday evening performances at 7:30pm and Sunday matinees at 2:30pm. General Admission tickets are $22 for Seniors/Military and $25 for Adults. As mentioned above, there are a limited number of cocktails tables near the front of the stage adding to the nightclub atmosphere of the show. Those VIP seats are available for $35. CLICK HERE to grab your tickets.
Following Ain’t Misbehavin’, Playhouse 615‘s season continues with Agatha Christie’s The Unexpected Guest on stage July 17-August 2. CLICK HERE for ticket. For more from Playhouse 615, check out their website or follow them on Instagram and Facebook.
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In case you missed it, check out our recent Rapid Fire 20Q with Ain’t Misbehavin’ director and cast.