Memphis, A Musical Must-See
Loosely based on the life of "Daddy-O" Dewey Phillips, the new musical Memphis (at the 5th Avenue Theatre; Tues.-Wed. 7:30 p.m., Thurs.-Sat. 8 p.m., Sat. 2 p.m. & Sun. 1:30 p.m., through Feb. 15; tix $29-$81) tells the story of dj Huey Calhoun, who faces down segregation and racism in 1950s Tennessee to become one of the progenitors of rock and roll and rhythm and blues by crossing over the racial barrier and putting black musicians on white radio.
Montego Glover as Felicia and Chad Kimball as Huey Calhoun in Memphis at The 5th Avenue Theatre. Photo by Kevin Berne
Kimball’s original portrayal of the oddball Huey Calhoun is unlike any performance we’ve seen. With a cockeyed drawl of an accent that's hard to put a finger on, and a scoliosis-inducing slouch, his sheer persistence, coupled with a unique way with words, eventually lands him a gig. Usurping Perry Como and Roy Rogers with The Deltones’ "Everybody Wants to Be Black on Saturday Night," race records officially invade the white Memphis airwaves and "Hockadoo!" becomes Huey’s signature on-air phrase.
Although met with skepticism by nearly everyone, Huey continually pushes racial boundaries, most egregiously in his relationship with songbird Felicia, who he promises to make a star. He keeps his word, getting her song "Someday" on the radio. Despite the unlikeliness of a mixed-race relationship working under those circumstances, the pair sneak around for years, eventually enduring a racially provoked attack when they are discovered kissing one night by a group of white men.
Huey’s rising stardom leads to an integrated television show, where rotund janitor-turned-break-out star Bobby (James Monroe Inglehart) gives a magnetic performance with "Big Love," showcasing more of Sergio Trujillo's amazing choreography. Even Huey’s incredulous mother finally comes around and attempts to convince the others with "Change Don’t Come Easy," a song condoning her son’s interracial relationship.
Glover, with Dreamgirls-esque vocals, fits the role of emerging ‘50s songstress like a glove. Kimball vocal chops shine through despite the character's unique dialect. Derrick Baskin, as Gator the mute bartender, silent until he has cause for words following Huey and Felicia’s attack, has the opportunity to dazzle in several poignant songs.
Racial prejudice is certainly not a new theme in American musicals, but Memphis succeeds in updating what could be perceived as an otherwise redundant tale (see Dreamgirls, Hairspray, etc.) thanks to the pairing of Joe DiPietro and composer David Bryan (Bon Jovi keyboardist and founding member). With rich, catchy tunes, solid vocals from the entire cast, and high-energy dance numbers throughout, at its core, Memphis is pure visceral entertainment. However, history is revisited and the ever-familiar ode to change resonates throughout.
