REVIEW

MILT THOMAS

For the uninitiated, a musical called Memphis would instantly conjure up images of Elvis and musical numbers to the early rock and roll hits. This is not an Elvis tribute at all, but it is a story that goes straight to the roots of rock and roll. In fact, the music is all original and Memphis earned the Broadway production four Tony Awards in 2010.

The Riverside Theatre production, which opened last Tuesday April 7, certainly did the Broadway version justice. The story is loosely based on a real-life Memphis disc jockey, Dewey Phillips, who back in 1951 championed black music and introduced it to a white audience, winning approval of teenagers and scorn from their parents. His more famous friend, Sam Phillips (no relation), opened a recording studio and together they formed a record company briefly before Sam started Sun Records.  Of course, Elvis also started on Sun Records and in fact, Dewey Phillips was the first DJ to broadcast Elvis’s debut record, “That’s All Right Mama.”

Enough of the trivia. Memphis features all original music by David Bryan and Joe DiPietro. (Okay, one more bit of trivia: David Bryan is the keyboard player for Jon Bon Jovi.)

The story follows Huey Calhoun, an enthusiastic loser who shows up at a blacks only night spot and professes his love of their music. He works at a local department store and is about to get fired until he saves his last job opportunity by selling black artist records to white teenagers who never heard them. He talks his way into a tryout as DJ for a local radio station playing black R&B records and lands a permanent job. He introduces the woman he is falling in love with, Felicia, as a singer on his show and she is a hit. That leads to his own Memphis TV show (remember, this is the early 50s when just about anyone can get on TV doing anything!)

The story takes many twists and turns, all to great original music and dance. The opening night audience loved it.

As with Westside Story, the performers were first rate, although Kimber Sprawl as Felicia Farrell was so outstanding, you should write down her name after you go to the show so you can tell your grandchildren you saw her first in Vero Beach. She will be a star!

Christopher Sutton as Huey Calhoun displayed boundless energy in his role as a 1951 white disc jockey who discovered black Felicia at the same time he was falling in love with her. It was a forbidden and ill-fated love of course, given that they lived in the 1951 South.

That is where I had a little problem suspending disbelief.  His zaniness was fine, and the fact he was uneducated proved the American dream is available to just about anyone. But Kimber was such a powerful force visually – much taller than Christopher and beautiful – it didn’t quite work for me. I could understand Kimber’s Felicia appreciating what Huey had done for her career. It certainly deserved a sincere hug and kiss on the cheek when she moved on to the big time. But it was difficult to believe a full blown romance would develop, especially, you know, in the racially charged South where an interracial kiss often ended with a lynching.

When the show was over and the cast took their bows, she came out and received a rousing display of approval. He came out last and the decibel level wilted.  Having said all that, it was really more her persona and thrilling voice than any shortcomings on his part.

 

Overall, Memphis is a great show and no one will leave the theater disappointed. It will play through April 26, so don’t miss it!