Joy has a way of sticking around. Long after a melody fades or the lights go down, it lingers, tapping its foot, daring you not to smile. Daring you not to think and remember. Welcome to Ain’t Misbehavin’, on stage with the Arizona Theatre Company until March 8.
When Ain’t Misbehavin’ premiered on Broadway in 1978, it wasn’t just reviving the music of Thomas ‘Fats’ Waller; it was throwing open the doors to a world bursting with rhythm, wit, and irresistible charm. Conceived by Murray Horwitz and Richard Maltby Jr., the revue strings together dozens of Waller’s songs into an evening that feels less like a traditional musical and more like a Great Night Out.
Born in New York City in 1904, Waller was a piano virtuoso with impeccable timing, embodying a larger-than-life personality. Like many Black musicians of his era, he was exploited by the industry, writing for every corner of the exploding entertainment world, but unable to reap the rewards afforded to white entertainers. Yet with his staggering output, his influence on American jazz was immeasurable.
Ain’t Misbehavin’ invites audiences into a 1930s Harlem nightclub, alive with smoky air, blaring brass, and the hum of anticipation. The show captures the spirit of legendary spots like the Savoy Ballroom, where music and movement offered escapes from segregation and limitation. It’s easy to get swept up in the sparkle, but beneath the buoyant melodies lies a portrait of artistry, survival, and self-expression.
Songs like “This Joint Is Jumpin’” feel like an open invitation to the dance floor, brimming with exuberance and swagger. “Honeysuckle Rose” and the title number “Ain’t Misbehavin’” playfully tangle with love, loyalty, and temptation, winking at the audience while still probing for something more honest and intimate. The result is a show that is fun, curious, and human.
Over the course of the evening, a subtle push-and-pull emerges between performance and truth. The singers shift moods and personas — mischievous one moment, vulnerable the next — reflecting the reality many Black entertainers faced in the early 20th century.
Onstage, they were expected to charm, joke, and delight. Offstage, the world was far less forgiving. Waller’s music lives in that tension. His songs make you laugh, then catch you off guard with a lyric that suddenly feels personal. The show leans into those contrasts, reminding us that entertainment has always carried more weight than it’s often given credit for.
Waller died at just 39, but his music never stopped resonating. Ain’t Misbehavin’ gathers his work and lets it breathe, allowing his humor, warmth, and emotional intelligence to pulse through every note. It’s a big, bold, unapologetic celebration with a conscience — a joy that demands space and a legacy that demands a lens. Learn more and find tickets at atc.org.
