Memphis is a potentially explosive combination of race, sex and rock n’ roll set in 1950s Memphis. It is more of a music-and-dance show than a book musical, but that doesn’t disappoint. (It’s a bit surprising that the show won a Tony Award for Best Book, but maybe that says more about the contenders that year.) Memphispays a high-energy tribute to rock’s emergence over the sleepy love ballads of Perry Como and Gene Autry, artists that a Memphis radio station used to play before hiring Huey Calhoun. Young, abrasive, uneducated and determined, Calhoun makes his way to stardom literally by locking a sound booth door and taking over a rhythm-and-blues radio show. The kids love listening to him, the sponsors love how he sells his products, and a star is born.
As Calhoun, Bryan Felkart creates a character that is likeable but not truly lovable. He is loosely based on real-life Memphis deejay Dewey Phillips. Huey’s heart is in the right place – he adores the tunes he hears in an “underground” African-American dance club – but he comes off as being goofy, cocky and, when the hit show goes on TV, arrogant and boorish.
The woman whose voice brought him into the club in the first place is Felicia (Felicia Boswell), a black singer who cranks up the music in a style all her own. The trouble starts when Huey falls hard for the singer. Huey seems completely oblivious to the mayhem this will cause. Even his own mother (beautifully portrayed by Tami Dahbura) won’t accept Huey’s mixed-raced romance. Felicia knows all too well what could be in store for them, and she is hesitant about encouraging his affections.
Eventually, when a rare opportunity in New York comes her way, she explains to Huey that she must go for it. Huey isn’t convinced, and he stubbornly refuses to leave Memphis. He realizes too late that fads come, and they go.
The music in Memphis isn’t on the same level as that of Stephen Sondheim, but it is fun to hear. The raucous production number, “Everybody Wants to be Black on a Saturday Night” is a true gem. Not all of the musical numbers scores this high on the ratings chart, but a few of them do: “Colored Woman,” for instance, and “Stand Up.” Amazing choreography keeps these numbers jumping as they go from blues to gospel and, of course, rock n’ roll. The eye-popping costumes (particularly on Felicia) are “absolutely dreamy,” as one might say in 1950s-speak. Their retro charm fuels the high-octane choreography.
In addition to Huey and Felicia, excellent performances can be seen across the board, from Horace V. Rogers as Delray, Felicia’s older brother; Rhett George as the whippet-quick Gator; and the hulking Will Mann as janitor-turned-TV host Bobby. Not all touring productions are as smartly produced, directed and acted as Memphis, and Milwaukee patrons certainly got their money’s worth.
