Centered on the love story between a singer and a Tennessee radio DJ in the 1950s, Memphis traverses musical territory ranging from rhythm & blues to soulful ballads to bopping early rock tunes, all accompanied by a live band and an extraordinary ensemble cast who bring each song to life with fervent vocals and high-energy, fluid dance moves.
The two talented leads, Michael Monroe Goodman as Huey and Krystle Simmons as Felicia, are perfectly cast in their roles as lovers of music who soon fall in love with each other. Simmons as Felicia has a heartbreakingly wide and deep vocal range, and Goodman brings a rock edge and passion to Huey’s songs. But because it’s Tennessee in the 1950s, and Felicia is African-American while Huey is not, their strong feelings are continually challenged by racial prejudices.
That tension is echoed in Huey’s desire to bring the music of Felicia’s world to the white community via records, radio and eventually television. The ensuing cultural resistance is portrayed with humor, including white parents not understanding what their children are listening and dancing to, and more somber questions from the black community about whether Huey is appropriating music born of a pain he has not lived. Grounding that music in the spiritual expression of black gospel is done well, with church scenes suggesting hope in the form of inclusivity and acceptance.
The rest of the cast, particularly Michael Shepperd as Felicia’s protective older brother Delray, Jay Donnell as janitor-turned-singer Bobby, Julie Cardia as Huey’s acerbic mother Gladys and Kenneth Mosley as bartender Gator, carry their roles and songs with aplomb. The unwavering commitment of the entire cast, which includes an additional 15 spirited singers and dancers, electrifies this non-stop production. Choreography (by director Edgar Godineaux) is engagingly propulsive and often sultry, using classic dance moves from the era, with resonances of James Brown, Chuck Berry and male and female harmonic trios.
Everything about this production, from the precise musical direction (Darryl Archibald), to gorgeous 1950s costuming (Karen St. Pierre), to efficiently designed sets (Stephen Gifford) that evoke a nightclub, kitchen, city street, radio station and television studio, converge to make Memphis an exceptional experience you don’t want to miss.
In addition to its thrilling power, perhaps the best thing offered by Joe DiPietro and David Bryan’s book, music and lyrics for Memphis is the possibility of transcending our perceived differences. That hope, as fitting then as it is now, will infuse your soul along with the music in this impassioned production.
Musical Theatre West’s Memphis continues at the Carpenter Performing Arts Center, 6200 E. Atherton St., through this weekend, with performances Friday, Nov. 4 at 8pm, Saturday, Nov. 5 at 2pm & 8pm and Sunday, Nov. 6 at 1pm. Tickets are $17 to $95. For tickets and information, call the box office at (562) 856-1999 x4 or visit musical.org.
