Memphis is a multi-layered musical now playing at Town Hall Arts Center in Littleton. On the surface, it is a dance-filled musical with a somewhat predictable storyline and big, energetic musical numbers. However, as the plot unfolds, we are confronted by a narrative with a dark side relating to race relations and racism.
Written by Joe DiPietro, with music and lyrics by David Byran the backdrop for the story is Beale Street in Memphis, Tennessee. Known for blues music, Beale Street provides a musically filled location for the story to come to life. Set in the 1950s, our protagonist is Huey (Carter Edward Smith) who is captivated by the blues and is committed to bringing it to the masses through the local radio station. Along the way, Huey falls in love with Felicia (Krisangela Washington) an up-and-coming singing sensation who also happens to be Black. At this time in our country’s history, interracial relationships were not only uncommon but also considered taboo (if not illegal) in many parts of the country.
Washington is perfectly cast as Felicia. A recording artist herself, she brings authenticity to the role. Her smoldering voice is unmatched and is highlighted throughout the production. She is both vulnerable and tough as her character morphs into a sought-after singing sensation.
As Huey, Carter Edward Smith gives a winning performance. Smith is strong-willed, but ingratiating as he moves up in the radio world as a true believer in the blues. He has a big singing voice that serves him well in an award-winning performance.
Huey stands firm in his belief that the blues should be made available for everyone to enjoy, much to the chagrin of the radio station owner, Mr. Simmons, played by John C. Ashton. Ashton is the perfect foil for Huey until his radio station starts to pull in mega-bucks with advertising dollars, at which time his tune abruptly changes.
Unfortunately, Huey’s mother, Gladys (Abby Apple Boes) isn’t so accommodating and is especially opposed to his relationship with Felicia. Boes turns in a stellar performance as Huey’s churchgoing mother. Standing in Huey’s way from the very beginning is Felicia’s brother Delray, played by Joseph Mykaels, His performance is one of strength and conviction with a strong presence throughout. Both Preston “P-Jay” Adams as Gator and Joseph Sanford IV as Bobby provide strong performances in supporting roles and are talented singers and dancers.
The ensemble deserves a special shout-out for their vocal capabilities and strong dance moves. The choreography by Mykai Eastman is complex and at times relentless, and the ensemble has some of the best moves I have seen recently.
The dynamic duo of directors, Mykai Eastman and Billie McBride, is aware of the underlying message of racism that Memphis evokes. They do not shy away from confronting it head-on with a sense of responsibility to not sugarcoat its crushing effect on the characters and storyline. But they have also fashioned a Broadway-style musical that features strong acting, vocals and dancing. Filling the space at Town Hall Arts Center, they use every inch available to them including the aisles to showcase the presentation. More attention should have been paid to the chemistry between the two leads. Although serving the script adequately, there seems to be little red-hot attraction to each other necessary to move the action forward.
Music director Trent Hines has assembled a talented group of four additional musicians to provide the live musical accompaniment. They are a super-charged group that sounds great from the first note to the last.
Scenic designer M Curtis Grittner provides a functional set that is adaptable for the multiple scenes it is called upon to suggest. Nicole M. Harrison, costume designer, does a remarkable job dressing the large cast in period attire. Of special note are the outfits worn by Krisangela Washington for their style and grace. Kate Bashore has designed the lighting focusing on the swift action moving from scene to scene.
Memphis is a strong theatrical piece that highlights a serious problem confronting our society for too many years. The theme of racism is not taken lightly in this production of Memphis, however, there is also a first-rate musical presentation that envelops the overall storyline. Kudos to Town Hall Arts Center for including Memphis as part of its 40th season.
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