Arts

Born for ovations

by Jules Becker
Wednesday Jun 27, 2018

Born for This, presented by Arts Emerson at Emerson Cutler Majestic Theatre, Boston, through July 15. 617-824-8400 or artsemerson.org

BeBe (Benjamin) and CeCe (Priscilla Marie) Winans were born for the stage, and so it goes for their stories. The remarkably talented brother and sister singer-songwriters (now 55 and 53 respectively) have traveled both geographically-from Detroit to North Carolina and all around the United States-and artistically-from gospel to R&B , urban contemporary and pop.

"Born for This," a new musical chronicling that stirring odyssey, has been traveling to such cities as Atlanta and Washington., D.C. The standing ovation-worthy talent on display at the Emerson Cutler Majestic Theatre-the show's Hub venue-have the voices and the moves to make it in New York.

To make this vocally and visually rich effort the Broadway-worthy show it should be, however, the relatively mild-mannered Charles Randolph Wright, BeBe Winans and Lisa D-Amour book needs to rise to the caliber of BeBe's often catchy score.

"Born for This" does begin fittingly with the Winans' Detroit roots and the church gospel inspiration guiding Pop and Mom Winans and their children. As Winans fans know, BeBe initially served as the van driver for a snappy quartet of fellow Winans-here in handsome matching silver jackets designed by Broadway veteran William Ivey Long-that call to mind The Temptations during the smooth synchronized steps choreographed here by Warren Adams.

Early on, Mom warmly counsels that "We all have our place." For his part, Pop optimistically declares that "God holds the future." Even so, Pop also stresses the importance of self-knowledge prior to leaving one's house. An unlikely but serendipitous 1982 television church debut at Jim and Tammy Faye Bakker's PTL (Praise the Lord) Club eventually brings BeBe and CeCe the opportunity to display their strong voices and develop their songwriting skills.

Designer Neil Patel may vary the color combinations of backdrop vertical rectangles, but stained glass effects smartly suggest the spirituality essential to BeBe and CeCe in life as well as in art.

Before BeBe and CeCe's 1987 departure from PTL in the second act, there are references to prejudice on the one hand and the Jim Bakker fraud scandal on the other. The show's book needs to say more-even briefly-about BeBe's experience with bigotry from a white PTL fellow singer. Especially curious is the lack of follow-up about Tammy Faye's insistence that BeBe nip in the bud any relationship with white singer Penny, who clearly has feelings for him.

Sibling Ronald Winans comes across significantly as a kind of conscience or moral anchor for BeBe; there ought to be more about Ronald himself. Another surprise about the book is that it stops short of detailing-even in epilogue-major accomplishments of both BeBe and CeCe. Reference is made to Dove Award (Christian music honor) nomination; eventually they actually were winners. Of course there are the impressive Grammy wins-six for BeBe and twelve for CeCe. CeCe has in fact become the biggest seller among female gospel singers.

Shortcomings aside, director Charles Randolph Wright summons compelling performances and big-voiced renditions from a stellar cast. Donald Webber Jr., a nephew to BeBe, has the right intensity and inner fire as BeBe-especially on the electrifying first act closer "Won't Stop." Loren Lott, a niece to BeBe, is persuasively sweet and vulnerable. She delivers CeCe's thoughtful solo "Is It Right" with singular resonance.

Nita Whitaker, tenacious as supportive Mom Wayans, delivers the vivid solo "Seventh Son"-arguably the musical's showstopper-with arresting angst. Milton Craig Nealy has persuasive authority as Pop Wayans. Chaz Pofahl captures Jim Bakker's slickness, and Kirsten Wyatt catches Tammy Faye Bakker's outspokenness as well as her distinctive accent. Brad Raymond finds all of Ronald's wisdom and striking directness.

Webber Jr. and Lott as BeBe and CeCe take the siblings' variation on "Up Where We Belong" to satisfying heights. The as yet unanswered question is whether the musical's book can do full honor to these uncommon talents.