Memphis the Musical – Shaftesbury Theatre

Beverley Knight in Memphis the Musical at the Shaftesbury Theatre, London. Picture: Roy Tan

Memphis the Musical continues at the Shaftesbury Theatre, London.

If you happen to be pining for the Great White Way, then a trip to the Shaftesbury Theatre may be in order, for while Memphis the Musical isn’t perfect, it boasts many of the qualities that make Broadway shows so special.

Set in 1950s Memphis, Tennessee, Joe DiPietro’s book is loosely based on the career of Dewey Phillips and other early rock‘n’roll DJs who dared to introduce white listeners to the memorable sounds of African-American rhythm and blues music which up until then had been confined to underground dance clubs.

It’s in a club such as this that Memphis opens, and from there on in the audience is on a fast-paced musical rollercoaster ride which boasts some of the best quality vocals and dance moves you are likely to find in the West End.

The owner of said fictional establishment in Beale Street, Memphis, is Delray (a convincing Rolan Bell) who has an incredibly talented singer as a sister (enter the effervescent Beverley Knight as Felicia Farrell). Del Ray likes to protect his sister from any guy that shows an interest in her, but even he cannot seem to stop the force of nature that is wannabe DJ Huey Calhoun (and he’s white too).

There is a huge amount to like and admire about this Tony Award-winning musical that is high on energy, from the very first note played by a fantastic orchestra led by musical director Tim Sutton. Director Christopher Ashley drives the narrative on at an incredible pace, allowing transitions from dialogue to song to flow effortlessly, as we witness Felicia and Huey’s struggle to follow their personal and professional dreams within such a prejudiced environment. As Huey’s career goes from strength to strength (he even has a catchphrase – (“Hockadoo!”), will Felicia have to leave Memphis to discover success, and can their love survive the hate around them?

Along with Sergio Trujillo’s breathtaking choreography and designer David Gallo’s clever and colourful designs (the spinning record above a tiny radio studio in which Huey records his show is a favourite), nothing is left to chance in creating the atmosphere of an era that so radically changed the face of popular music.

There is such a rich catalogue of songs stemming from the 1950s that producers could have taken the easy way out and created a jukebox musical around Di Pietro’s book. Instead, the latter’s lyrics accompany Bon Jovi founding member David Bryan’s thoroughly entertaining score that impressively conjures up all the musical styles of the era, from gospel to rock‘n’roll (via the legacies of such artists as Little Richard, Fats Domino, Chuck Berry, James Brown and more).

Among the songs that do stand out are ‘The Music of My Soul’ during which Huey does his best to convince everyone at Delray’s of his passion for the music they’re performing, Felicia’s two studio tracks – ‘Someday’ and ‘Love Will Stand When All Else Falls’ – and the infectious ‘Steal Your Rock‘n’Roll’.

Killian Donnelly and members of the Memphis the Musical cast. Picture: Roy Tan

There is also the ‘11 o’clock number’, which one would have thought might have ended up in the hands of Knight, but instead ‘Memphis Lives in Me’ allows Donnelly the chance to put his stamp on a performance which really is the star turn of the evening. Having recently made his name in The Commitments, this artist continues to shine, completely inhabiting the role of Huey and singing and dancing up a storm in the process.

Knight is as ever on fine form vocally, and is proving herself a welcome addition to the musical theatre world, although director Ashley does ask a great deal of her in some of the darker, dramatic scenes. When the story should shock or tug at the heartstrings, the pace of the piece goes so fast that the actress is given little time to relate her emotions to the audience, and the results appear rushed. And while there is nothing wrong with an unconventional musical theatre ending involving the show’s idealistic hero being down on his luck, the build-up and what follows also lacks a certain substance and integrity.

All in all though, Memphis the Musical is a terrific night out, made even more exciting by an amazingly talented ensemble of triple threat performers. Special mentions should also to an excellent set of supporting players in the shape of Jason Pennycooke, Tyrone Huntley and Claire Machin as Huey’s spirited mother Gladys who is forced to face up to her own prejudices.

Lisa Martland