CrazySexyCool, the TLC Musical, Kreeger Theatre, Arena Stage, Washington, DC

 

Holli' Gabrielle Conway as Tionne "T-Box" Watkins, Jade Milan as Lisa "Left Eye" Lopes, and Stoney B. Woods as Rozonda "Chilli" Thomas in CrazySexyCool at Arena Stage. Photo credit: Julieta Cervantes.

Biographical “jukebox musicals” are a specific subset of musical theatre, consisting of musicals created using the music of one artist (or sets of artists) to recount the life (lives) of said artist(s). Think Jersey Boys, based on the life and music of Frankie Valli and the Four Seasons, MJ the musical, about Michael Jackson, and a number of recent musicals giving similar treatment to female performers: Cher (The Cher Show), Gloria Estefan (On Your Feet!), Carole King (Beautiful), Donna Summer (Summer: The Donna Summer Musical), and Tina Turner (Tina).

On the other hand, perhaps the most financially-successful jukebox musical has been Mamma Mia! in which the creators inserted songs by the group ABBA into a plotline that has nothing to do with the musicians. Other recent examples include & Juliet and Moulin Rouge!

The current production in the Kreeger Theatre at Arena Stage is a biographical jukebox musical based on the lives and music of the “girl group” TLC, which takes its title from the group’s best-selling (and Grammy-winning) album: CrazySexyCool. (“Girl group” would seem egregiously sexist as a designation if it were not for the fact that its opposite is “boy band.”)

To be honest, TLC and its story as a group were unfamiliar to me. I wasn’t listening to much pop/rock/rap/hip-hop in the 90s (when I was approaching middle age), so both the singers and their songs were new to me. The group first appeared in 1990 and hit their peak success when their best-selling, critically- acclaimed album “CrazySexyCool” (1994) produced four top-5 singles. It became the number one selling album by a female group (eventually selling well over 10 million copies) and won two Grammy Awards. They continue to be regularly included in lists of the top girl groups of all time.

CrazySexyCool (the musical) recounts the lives and career of the three members of TLC: Tionne “T-Boz” Watkins, Lisa “Left Eye” Lopes, and Rozonda “Chilli” Thomas. As the play begins, Watkins and Lopes are auditioning to replace the third member of the group, under the watchful eye of manager Christina. Watkins and Lopes choose Thomas against Christina’s advice.

The three TLC members are each formidable. Watkins handles the primary vocals and is facing health issues (sickle cell anemia), which she keeps from the others. Lopes is fiery and opinionated. She contributes the rap portions of their records and we learn that she is dealing with mental health concerns and addiction issues. Thomas is lower-keyed than the others, quietly but deeply religious, and unable to sustain a positive relationship with a man.  As the newest member of the group, she doesn’t steal focus from the other two, but contributes a needed even-handedness.

Inevitably, three such formidable individuals often do not agree. They talk their way into a meeting with MC Hammer, one of the most successful performers of the time, and become his opening act.

Lopes begins a relationship with a professional athlete who has a line of tennis shoes. When she discovers a pair of size 6 shoes in a shipment of the shoes, she discerns that her size 12 man is being unfaithful. She calmly places the boxes of shoes in the bathtub, sprays some lighter fluid on them, and sets them on fire. Unfortunately, the fire spreads and burns the house to the ground. She is arrested for arson, jailed briefly, and forced to repay Lloyd’s of London $2.5 million for damages to the house.

Subsequently, a reluctant Lopes goes to Guyana to work with a non-traditional therapist, Dr. Nzinga. When Lopes finally gives in to the process, she is not wholly healed, but better. She returns to the States to work, but is furious that the other two singers have been working together without her.

Despite their success as a top-selling musical group, they are subjected to bad management, having signed a contract they had not had an opportunity to discuss with a lawyer. Even at the peak of their popularity, the reality is that they were broke.

Clashes mount. We learn that Watkins is being treated for sickle cell. Her doctor tries to persuade her to stop performing, but she will not: she has learned that she is a role model for young African Americans with sickle cell. And not only will she not stop performing; she is determined to have a baby, something her doctor tells her is very unlikely. Thomas has personal issues, too, having to do with bad choices she has made regarding men in her life. Through it all, however, the three maintain an unbreakable bond.

Lopes realizes that she still needs to return to therapy in Guyana in order to be comfortable being herself when engaged with others in the real world. Unfortunately, in 2002 she is killed in an automobile accident – an event that is shatteringly portrayed on the stage.

Jade Milan as Lisa "Left Eye" Lopes, Stoney B. Woods as Rozonda "Chilli" Thomas, and Holli' Gabrielle Conway as Tionne "T-Box" Watkins, in CrazySexyCool at Arena Stage. Photo credit: Julieta Cervantes.

Just as the Shirelles, for example, paved the way for the Supremes, the Supremes did the same for TLC, and TLC for Destiny’s Child and the Spice Girls, etc. And if there were no Destiny’s Child, perhaps there may have been no Beyoncé.

In telling TLC’s story, writer and director Kwame Kwei-Arman appears to have stuck closely to the group’s real narrative. I imagine that he took a few liberties for dramatic purposes; whatever the case, the story comes through as authentic and unique. Kwei-Arman handles the transitions so that the play seems almost seamless, capturing the highest highs and the lowest lows the three members experience. Striving for authenticity, Chloe O. Davis’s choreography no doubt adheres closely to the way TLC performed, as well as the easily recognizable dance moves of MC Hammer. Add to that the quirky, colorful costumes (designed by Dede Ayite) that capture the essence of the TLC “look,” as well as those of the other characters and ensemble members. Music director and conductor Jaret Landon does a masterful job with the cast and makes the 11-person orchestra sound like a much larger ensemble.

Set designer David Zinn creates a number of locations with great detail, aided by Peter Nigrini’s projections, which help us define time and place. Hair and wig designer Nikiya Mathis (who received the first special Tony Award for  wig designer for Jaja’s African Hair Braiding) continues to lift her work to new heights.

My only quibbles with the design of the play have to do with the lighting design (by Japhy Weideman) and sound design (by Gareth Owen). In the quest to recreate how TLC’s performances looked on the stage, there is a great deal of light that originates on the stage. During the group’s performances, vertical strip lights are used that are of such blinding intensity, I could not see anything. Similarly, the sound design’s volume could have been moderated a bit in order to ensure understanding of some of the very dense lyrics. In both of these instances, less truly would have been more.

The performances are all outstanding. The three who play TLC’s members (Holli’ Gabrielle Conway as Watkins, Jade Milan as Lopes, and Stoney B. Woods as Thomas) each bring singularity to their roles. Conway imbues Watkins with a serene but steely determination and inner strength. Milan’s Lopes is a firecracker: you are not sure when she will explode, but you know that she will. Woods creates a more serene but no less determined persona for Thomas, who often appears to be the glue holding them together.

The remainder of the cast demonstrate a similar level of commitment. Felicia Curry, who is one of DC theatre’s major presences, makes a strong but humorous Christina in Act I and then the seriously serene Dr. Nzinga in Act II. Christopher Henry Young brings the house down as an “on-the-nose” MC Hammer, accompanied by equally adept dancers from the ensemble. Josh A. Dawson is imperiously chauvinistic as Blake, an industry journalist who considers himself to be the arbiter of rap and hip hop (and dismisses TLC as not serious musicians). Additional performers give energetic, committed performances as well. While often in the background, every move is controlled and precise.

Stoney B. Woods as Rozonda "Chilli" Thomas, Jade Milan as Lisa "Left Eye" Lopes,  Holli' Gabrielle Conway as Tionne "T-Box" Watkins, and ensemble members in CrazySexyCool at Arena Stage. Photo credit: Julieta Cervantes.

Opening night, the “real” surviving members of TLC, Tionne (“T-Boz”) Watkins and Rozanda (‘Chilli’) Thomas  and their longtime producer/manager Bill Diggins, who is the musical’s lead producer, joined the cast onstage at the end of the curtain call. Each one expressed admiration for the production.

This is a world premiere production that should, no doubt, have a life beyond its current run at Arena Stage (which continues through August 9). Broadway perhaps, regional theatre for certain. TLC fans should rush to obtain tickets (or likely may have already done so), as should any aficionado of 90s music in general or girl groups, or just theatregoers who are seeking an entertaining, thoughtful production. If opening night was any indication, DC audiences will be enthusiastic and vocal in their response to this moving musical, which serves as a fitting tribute to the group.