MEMPHIS THE MUSICAL - THEATRE REVIEW (West End)

M E M P H I S T H E M U S I C A L

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Shaftesbury Theatre, London

★★★★★

THEATRE | Kyle Pedley

THE BIRTH OF ROCK 'N' ROLL MAKES A KNIGHT TO REMEMBER...

Just as London’s West End seemed in danger of drowning in a sea of revivals and jukebox shows - admittedly, rather excellent jukebox a la The Commitments, Beautiful and Sunny Afternoon - Bon Jovi’s David Bryan and team have spun themselves a fresh new success and lit a spark of very welcome originality in the theatre scene by bringing their vibrant, soulful and joyous Memphis the Musical to British shores. Loosely leaning on the real-life example of maverick American DJ “Daddy-O” Dewey Phillips, whose advocative radio and TV work in the 1950’s is credited with helping to birth Rock ’n’ Roll and bring it to mainstream audiences, Memphis is full of big ideals - ‘Change Don’t Come Easy’, ‘Stand Up’ and ‘Make Me Stronger’ being just some of the numbers which highlight the segregation-era trials and tribulations that ground the shows central narrative.

Yet, despite these socio-political undertones, which are handled with due seriousness (and peril) at times, Memphis is decidedly high-octane, feel-good and boasts a calibre of performances and production values that very few shows in London (and beyond) can match. Front-and-centre is British soul star Beverley Knight, whose blistering, powerhouse vocals as aspiring recording artist Felicia are nothing short of staggering. Felicia is a sassy, sometimes flighty young girl, with big hopes and dreams yet a pragmatic, almost world-weary view as a young black woman in 1950’s Tennessee. She longs to be a singer, a 'star' and yet also harbours decidedly more realistic, everyday dreams of children and a family, with Knight portraying the vulnerability yet resolve of the character with conviction. However, it is in voice where her portrayal elevates to something altogether more brilliant; Memphis cannily gives Felicia a very generous handful of big, eclectic numbers that Knight tears through with searing vocals and astonishing control, her own recording background lending body, shape and indeed soul to her sound that could so easily have been executed with typical musical theatre cleanliness.

"Knight portrays the vulnerability yet resolve of

the charater with conviction... however, it is in

voice where her portrayal elevates to something

altogether more brilliant."

Equal to Knight in impact, however, is co-lead Killian Donnelly, who portrays the show’s protagonist Huey, based on the aforementioned Dewey Phillips amongst other pioneers. Charismatic and winning from the offset, Donnelly showcases a bravery and uniqueness of performance that is never anything other than utterly compelling and frequently hilarious to watch. His charming no-hoper sees (hears?) the potential and worth in the underground music of 1950’s Memphis’ Black clubhouses, particularly so with Felicia, and through a mix of ingenuity and sheer gall takes tentative steps to a much wider and worthier cause, inevitably clashing with executives, producers and practically every semblance of authority (his mother included) along the way.

Huey and Felicia’s story is at times a touch familiar - unexpectedly, the show echoes the likes of Hairspray and even Dreamgirls with a handful of ideas and set pieces - and at times the furiously kinetic pace and uncertain endgame can leave one yearning for a bit more narrative solidity. Knight and Donnelly make the burgeoning romance between their characters earnest and believable, yet their story flounders around somewhat uncertainly in Act II, with the show, no doubt deliberately, building to an anti-climax of sorts which feels abrupt and undercooked in comparison to what has come before it. Fortunately, the journey getting there has been an utterly irrepressible, exuberant ride, and the big changes and movements of the time that have been rung through have done so with irrepressible joy and verve.

"A thumping, dazzling musical experience that erupts

from the stage and refuses to coast - Memphis ratchets

up the dial to eleven at the offset and keeps it there

throughout."

Memphis looks and sounds incredible - Andrew D Edward’s evocative, characterful sets and Howell Binkley’s lighting harmonise to create a dazzling kaleidoscope of place, colour and levels on stage - admirably keeping up with Christopher Ashley’s almost hyperkinetic direction. Similarly, Sergio Trujillo’s Olivier-winning choreography and Gareth Owen’s also-Olivier-nabbing sound work meet with David Bryan’s wonderfully diverse and memorable soundtrack to create a thumping, dazzling musical experience that erupts from the stage and refuses to coast - Memphis ratchets up the dial to eleven at the offset and keeps it there throughout.

There is so much character, flavour and outstanding showmanship on display in Memphis that its very few minor faux pas are easily forgiven and forgotten. Whilst future revisions and productions would likely benefit from an extra beat or two to embellish the shows final scenes, and perhaps some general tightening of the Act II narrative as a whole, it is difficult to imagine anything dulling the overall impact and impression this joyous, big-budget treat of show offers. Underlined yet not overwhelmed by important historical precedent and commentary, and writ-large by exceptional artistry, production and performance, Memphis the Musical hits a standard of entertainment and attainment that every mainstream West End musical production should aspire to. So throw on your glad rags, shuffle on down to the Shaftesbury and prepare to be blown away by not only the birth of Rock ’n’ Roll, but also of what deserves to be a West End classic in the making.

MUSINGS

+ Incredible standards of production across-the-board

+ Knight's searing, powerhouse vocals ripped straight from the era

+ Donnelly gives a character masterclass as Huey

+ Sterling supporting cast and ensemble

+ Trujillo's Choreography and Bryan's musical number harmonise beautifully

+ Respects but does not abuse or lean on its socio-political history

- The latter half of Act II fumbles about narratively

Run: Booking until 31 Oct 2015

Tickets: 020 7379 5399 / Official Website: click