Head to 'Memphis' Head to 'Memphis' (January 30, 2004)

New TheatreWorks show boasts sensational ensemble and great music

by Jeanie Forte

If you see no other theater production this year, you must see "Memphis," the new musical staged by TheatreWorks at the Mountain View Center for the Performing Arts. It's playing in an all-too-short run, and if you don't get tickets now, it will be too late, because I guarantee it will sell out. It's hot, hot, hot and deserves every accolade and a long, record-breaking run, after which it should move to Broadway and knock the socks off jaded New Yorkers.

The premise is really nothing so new -- it's a fusion of rock and musical theater (been there), with a script based loosely on history (seen that), mixed with a dash of kitsch and a star-crossed romance (can you say "Forever Plaid"? or "West Side Story"?) -- but in Joe DiPietro and David Bryan's collaboration, the total product is far greater than the sum of all these parts, resulting in a fabulous, fresh star in the musical-theater firmament.

The book follows the rise of Huey Calhoun, a daring deejay who single-handedly turns on a whole region (and by ripple effect the whole country) to the "race" music of the early '50s -- rhythm & blues at first, and then the nascent rock & roll sounds of white artists such as Elvis and others who found their fame in the new genre.

Black artists began to reach a whole new audience and thus a new level of success, although many of them lived to see their work "borrowed" by whites who made it where they couldn't.

The character of Huey is patterned after the rise and fall of famed deejay Dewey Phillips, who championed the cause of the new form and its fledgling artists, both black and white. Here, Huey also gets a love interest in Felicia Farrell, a Diana Ross type who wins his heart on her way to crossover fame and fortune. The real Dewey died fairly alone and penniless at 42; in typical musical fashion, Huey ends somewhat better, with a rousing finale and heartfelt reconciliation.

Some of the songs in "Memphis" began to sound similar towards the end, but I didn't care -- they were all so likeable and infectious. Bryan, a founding member of Bon Jovi, manages to create a surprising field of terrific music that pays reverent homage to the styles of the time without slavishly imitating them. It stays faithful to early rock while layering on a more contemporary sound, but never approaches the heavier, over-souled rock of "Rent."

Bryan also writes funny riffs on the blander offerings of the day, a la Patti Page and Perry Como. There are numerous show-stopping numbers that could easily become standards, especially those sung by Montego Glover as Farrell.

Glover brings the house down more than once, with spine-tingling vocals and an emotional delivery that packs a wallop. She's a true phenom, and you will count yourself lucky to hear her now, when she's on her way to the top.

Chad Kimball, as Huey, is himself a force to be reckoned with -- a restless, perpetual-motion physicality and over-the-top personality that stops just short of irritating. And he sings a mean rhythm and blues besides, that endears him to his real and onstage audiences.

Fabulous voices and acting are the norm in this incredible ensemble. J. Bernard Calloway as Felicia's brother and night-club owner, Delray Jones, can raise the roof with his smoky sound; James Monroe Iglehart reveals knock-out vocal chops in a surprise turn as a janitor-turned-singer; TheatreWorks favorite David Curley is put to excellent use here in a number of roles; locals Melody McArtor and Jeff Leibow do fun cameo turns as well as solid ensemble work, and Molly Bell adds a touch of brilliant comic relief. Derrick B. Baskin, C. Kelly Wright and young Khalia Davis are also impressive in their vocal cameos.

I could list the entire ensemble -- one of the strongest assembled on a local stage in recent memory. The sheer energy and enthusiasm of this fantastic troupe seems to well up from some bottomless source, coming back to reach soaring heights again and again in each demanding number. They must lose several pounds in sweat each performance, yet they make it look effortless and truly enjoyable.

Special kudos for choreographer Todd L. Underwood, who takes us from the jitterbug to the jerk with endlessly fascinating dance numbers, including a sweet hula-hoop duet. The metallic moving sets and evocative lights are a great match for the many different locations, and the costumes fit the era without seeming stereotypical. The whole production comes together beautifully, with no jarring elements.

And, it rocks! Even my matinee audience had no trouble rising to its feet for the curtain call -- I thought fleetingly that we might see dancing in the aisles. There are those who will point out the irony of two white men writing an homage to the birth of rock in its black, R&B roots. But it's as if DiPietro and Bryan are the Hueys here, bringing an era to contemporary light and doing a little consciousness-raising in the process.

Don't miss this one -- great music, compelling story, sensational performers and big heart.

What: "Memphis," presented by TheatreWorks. The play is a collaboration between playwright Joe DiPietro and composer David Bryan.

Where: Mountain View Center for the Performing Arts, 500 Castro St (corner of Mercy Street)

When: Through Feb. 15. Show times are Tuesdays at 7:30 p.m.; Wednesdays through Fridays at 8 p.m.; Saturdays at 2 and 8 p.m., (8 p.m. only Feb. 14); Sunday at 2 and 7 p.m. on Feb. 1; 2 p.m. only on Feb. 8 and 15. "Visual Voice" audio-described performances will be available Feb. 13-14 at 8 p.m. and Feb. 15 at 2 p.m.

Cost: Tickets are $20-$48; discounts are available for youth, students, seniors and members.

Info: For tickets and information, please call (650) 903-6000 or visit theatreworks.org

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