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Chase Phillips as Michael Jackson. Photo by Joan Marcus.

Trenyce and Kenneth Mosley. Photo by Michael Pool.

But it is the show’s 2 stars who will have you coming back for more and more. Being that this is a jukebox musical, the storyline tends to be limited and weak to make room for the infectious dancing and singing. However leading man Kenneth Mosley who stars as Berry Gordy is able to keep the rhythm flowing and prevents the show from dragging during the mini vignettes highlighting his personal life and highs and lows with Motown Records. He also knows how to tug at the heartstrings with his warming rendition of “To Be Loved” in the First Act.

Trenyce as Diana Ross. Photo by Michael Pool.

And even though the ensemble is filled to the brim with incredible vocalists such as Justin Reynolds (Smokey Robinson) and Matt Manuel (Marvin Gaye) the show ultimately belongs to leading lady and American Idol alumni, Trenyce, as Diana Ross.

Trenyce seamlessly takes Diana Ross from a young high school senior full of sass and spunk to a big time singer dealing with a business-personal relationship with Gordy to an unhappy superstar who sees no future with her lover. [Interestingly the show does not touch on the fact Diana Ross was 2 months pregnant with Gordy’s daughter when she married her first husband Silberstein.] And the way she is able to connect with the audience at the top of the Second Act was brilliant. Trenyce is a talent that saw a too brief career on American Idol Season 2 and hopefully will no longer be hidden in the background after she takes the country by storm with her sensational performance as Diana Ross. This is one lady who deserves a big break and could easily carry this role in an equity production.

While the mediocre scenic design by David Korins (high praise to Projection Designer Daniel Brodie for making the most of the space) and minuscule “orchestra” under the baton of Conductor/Keyboard 1 Matthew Croft scream non-equity tour, the sensational casting by Wojcik and Seay Casting and the gorgeous costume design by Emilio Sosa all but makes up for it. And a big thank you to Director Charles Randolph-Wright for his delicate and appropriate approach to the social context surrounding Motown (JFK, Martin Luther King Jr., Martin Gaye, etc.) using Kenneth Mosley’s calm presence as Gordy as a voice of reason in a time of hostile.

So do yourself a favor… turn off the television, stop reading the depressing news and get a ticket to see the enchanting and thoroughly entertaining Motown the Musical! You’ll be clapping along, shaking your head with laughter and humming a tune or two on the way out.

Disclaimer: I had my ticket comped for review purposes but all opinions are my own.