By Darlene Donloe
Contributing Writer
LOS ANGELES — Grammy Award-winning singer Ledisi, is showing off her talents in the Ebony Repertory Theatre’s “Ain’t Misbehavin’,” bringing her acting and vocal chops to the Tony Award-winning musical tribute to jazz legend Thomas ‘Fats’ Waller, currently playing at the Nate Holden Performing Arts Center through June 8.
With her soulful vocals and captivating stage presence, Ledisi is a force to be reckoned with and her latest role is proving it.
The Grammy-winning singer-songwriter is bringing Fats Waller and the Harlem Renaissance back to life in a way that feels both authentic and electrifying, showcasing her range and versatility as an artist.
In “Ain’t Misbehavin’,” Ledisi proves she is just as compelling singing and acting on a theatrical stage as she is in concert or in the recording studio.
She is clearly in her element alongside veteran performers Chester Gregory, Connie Jackson, Marty Austin Lamar and Natalie Wachen, all of whom have brought their A-game for a night of unforgettable jazz and swing.
For Ledisi, who is that rare talent able to use just her first name, her latest role is a masterclass in nuance and power. It’s all about the music — and performing in “Ain’t Misbehavin’” is right in her wheelhouse.
“Music makes me feel empowered, not alone,” she said during a recent interview. “It’s like a friend that keeps on giving for the rest of your life. When you can’t talk, you can talk through there. It gives you the mood. It gives you the conversation when you don’t have to talk.”
Ledisi said acting taps into that same vein.
“It feels the same, like singing, but it’s more vulnerable,” said Ledisi, whose full name is Ledisi Anibade Young. “When I’m acting, I’m drawing from my own life to put into the character to make it as real as possible. It’s more open.
“I feel naked when I have to speak. It’s kind of like lying, and I’m a horrible liar because my eyes give me away. So I really have to draw from myself,” she added.
For this production, Ledisi said she was able to find her footing with the help of the show’s director, Wren T. Brown, the Ebony Repertory Theatre’s founder and producing artistic director.
“Wren trusts my instincts,” said the New Orleans native, who delivered a soul-stirring rendition of “Lift Every Voice and Sing” before an audience of 150 million at the 59th Super Bowl in 2025. “I’ve been beaten up so much, I didn’t think I was a good actor or good enough, and he’s made me feel all my instincts were right. Wren lets me know and affirms me. To get that from a director is a beautiful thing.”
Brown said he “Learned so much” working with Ledisi on this production.
“I was exposed to the rigor she exerts on herself as she was learning her music,” Brown said. “That glimpse into her process was very exciting to me.”
It’s jarring to think Ledisi’s talent isn’t always a shield against criticism.
“Everything is a challenge for me until I trust myself and be myself,” she said. “I have to just be myself and say it through my lens, and not try to be what everybody wants me to be. Go to when people said you’re not good enough and you’re not worthy enough in this space.
“I’ve been told that for so many years,” she added. “To finally be over 50 and comfortable in my own skin is wonderful. Why it took so long is crazy. The world didn’t affirm me. I’ve been fighting that and now I’m finally like, ‘nah, I’m going to do what I do.’”
Ledisi has a crystal clear sense of self.
“It’s not me doubting myself, it’s me convincing the world that I belong wherever I want to be,” she said. “People like when I sing R&B music, but I don’t belong just there. God wants my voice everywhere. I belong everywhere God sends me.”
With Ledisi embracing this multifaceted role, it’s clear she’s exactly where she’s meant to be — and the theater’s mission aligns perfectly.
The Ebony Repertory Theatre has a legacy of centering Black stories and artists. It was a match made in heaven, no accident. Brown said pairing Waller’s work with Ledisi was pure serendipity.
“For me, Fats Waller and Ledisi both exemplify, in their art, the best in our culture,” said Brown, who chronicled his family’s theatrical legacy in his recently published book, “The Family Business: Four Generations of One Black Family’s Artistic Odyssey”. “I consider Mr. Waller a classic, transcendent artist, and I consider Ledisi a classic, contemporary artist.”
Ledisi has a storied career and it’s not just about singing.
The 54-year-old started in San Francisco’s iconic Beach Blanket Babylon cabaret review, where she held court for 11 years.
Broadway is no stranger to her either. She made her debut in the original 2004 production of “Caroline, or Change.”
Now, she’s gearing up to return to the Great White Way this fall, starring as Tallulah Clarke in the new musical “Wanted” at the James Earl Jones Theatre, previewing Oct. 15 and opening Nov. 8.
Ledisi first hit the music scene in 2000 with the release of her debut album, “Soulsinger — The Revival.”
Over two decades, she has built a catalog that bends R&B, soul, and jazz into something unmistakably hers.
“Lost & Found” (2007) earned two Grammy nominations. “Pieces of Me” (2011) drew a third for Best R&B Album. Then came “Ledisi Sings Nina” (2021), her reverent, fire-lit tribute to Nina Simone, followed by “For Dinah” (2025), honoring Dinah Washington.
In 2020, “Anything for You” brought her 15th nomination and her first win: Best Traditional R&B Performance.
For Ledisi, the role in “Ain’t Misbehavin’” is another conversation in a lifelong dialogue with music.
“There is something about Fats Waller’s music,” she said. “If people are not familiar with his body of work, study him, listen to him. His work was and is important.”
Waller was an international jazz pianist and composer who helped define American swing. He also knew music could say what society wouldn’t let Black artists speak.
“Very little brings me more joy artistically than to explore the magnificence of the Harlem Renaissance and the music of brilliant artists like Thomas ‘Fats’ Waller,” Brown said. “This extraordinary period of intellectual, artistic, and cultural inspiration is still being robustly discussed and written about today. In addition to this historic backdrop, having a cast with Ledisi, Chester Gregory, Connie Jackson, Marty Austin Lamar, and Natalie Wachen represents a director’s dream.”
Ledisi hopes the takeaway for audiences is to listen to, study, and enjoy Waller’s music.
“Whether you’re familiar with Fats Waller or not, when you come to see the show, just be reminded of how great it is to have musical theater,” she said.
“Ain’t Misbehavin’” was conceived by Richard Maltby, Jr. and Murray Horwitz with music by Fats Waller.
The production originally opened in the Manhattan Theatre Club’s East 73rd Street cabaret on Feb. 8, 1978.
It opened on Broadway at the Longacre Theatre on May 9, 1978.
“Ain’t Misbehavin’” is presented by Ebony Repertory Theatre, Los Angeles’ only African American professional theater company, at the Nate Holden Performing Arts Center, 4718 W. Washington Blvd., through June 8. Tickets start at $35.
Information: 323 964-9766 or ebonyrep.org.
Darlene Donloe is a freelance reporter for Wave Newspapers who covers South Los Angeles. She can be reached at ddonloe@gmail.com.
