Review: MEMPHIS at Theatre Three

By 2009, when the musical MEMPHIS opened on Broadway, America had nearly 60 years since the Civil Rights Movement began in the 1950s. But, despite significant progress, headlines even today continue to affirm our society's failings in the areas of discrimination and prejudice. Monday night, when the house lights faded for opening night of MEMPHIS at Theatre Three, the crowd cheered. Although I was just as eager to support the company's newest production, I'd not considered how moved I would be by the historic, but still timely themes.

MEMPHIS was Broadway's 2010 Tony Award-winning Best Musical, thriving on the New York stage for over 1,000 performances. Written by Bon Jovi songwriter/keyboardist David Bryan and Joe DiPietro (I LOVE YOU, YOU'RE PERFECT, NOW CHANGE; ALL SHOOK UP), the show is loosely based on the life of Southern radio DJ Dewey Phillips, who was the first white DJ in 1950's to play "race music" on air.

In the show, Dewey, renamed Huey in the musical, not only falls for the rhythm and blues he discovers in an urban nightclub, but for the soulful black singer (Felicia) who performs there. As Huey's career takes off and he begins to dominate the radio, he pursues Felicia's heart and promotes her impressive talent. But, life is not easy for a mixed-race couple in the 1950's. Not only do they face the racist society of the South, but they have to fight for their love in their own homes as well. Both Huey's mother (Mama Gladys) and Felicia's brother (Delray) struggle to support them. Although the musical theatre storyline allows everyone to grow and more-or-less succeed, the authors (both white men) appropriately allow the racial tension to be seen and felt over the course of the show, reminding us where we've been - and the work that still needs to be done to get to where we should be.

Leading Theatre Three's cast is the incredibly versatile Kyle Igneczi as Huey. Igneczi (whose recent credits include the title character in HEDWIG, Radames in AIDA, and Riff in WEST SIDE STORY) delivers a nuanced performance, which is both hilarious and deeply moving. His eccentric character, who battled with drug and alcohol dependencies in real life, could easily have been performed as a caricature, but Igneczi's sincere and intense approach felt so honest that it often didn't feel like he was acting.

Ebony Marshall-Oliver shines next to Igneczi as Felicia. Her character's transformation from small town singer to dynamic diva requires a good deal of acting skill, and her musical talent is clear when she belts out the powerful "Colored Woman," and "Stand Up." Although Ms. Marshall-Oliver delivers a commendable performance, she occasionally shied away from Felicia's more emotional moments, at times lacking an appropriate sense of urgency or fear.

The various supporting characters of MEMPHIS were nearly all praiseworthy, with Calvin Robert (Delray) and Darren McElroy (Gator) really standing out and capturing the audiences favor. Mikey Abrams also deserves mention for not only providing endless humor as radio producer Mr. Collins, but for his impressive physical transformation in the role. In addition, the youthful ensemble's tremendous energy was contagious. Alternatively, Kristal Seid (as Mama) lacked the vocals and maternal warmth her role so desperately needed. Should Seid develop greater chemistry with her scene partners, the audience is likely to better understand her character's arc.

Director Bruce R. Coleman succeeded in presenting a big show on such a limited stage. With the action utilizing every possible playing space, including the floor, two corner platforms, and even the aisles, Coleman keeps the audience on their toes as the story unfolds. In Act Two, however, several moments are lost in translation when most of the leading players turn their back to the crowd and perform directly into a "camera." Staging these moments with the camera across the theatre might have kept these moments from disappearing. Still, Coleman has assembled a top-notch cast and guided them in creating heartfelt performances.

Kelly McCain's lively choreography starts the show off with wild energy that never lets up throughout the evening. With a unique dance vocabulary selected for each race, McCain sets the tone for what it might look like to be a 1950's youth. Her work is particularly thrilling in songs like "Underground," "Scratch My Itch," and the show's catchiest tune, "Everybody Wants To Be Black On A Saturday Night."

Theatre Three's technical elements were somewhat uneven, with the sound balance creating the greatest challenge throughout the show. Being a theatre in the round, there are several times that characters are not facing your section of the audience and, without good sound, it is easy to miss certain lines or plot points. Tory Padden's creative use of noticeable color choices in costuming helped enhance the divide between races, despite far too much use of the color red. Lastly, although the scenic design by Michelle Harvey was generally appropriate for the space, the execution of the set appeared amateur compared to the talent on stage (and I'm not only referencing the cheese grater used without disguise as a vintage microphone).

Despite a few small missteps, Theatre Three delivers an exciting and emotional success in MEMPHIS. The show runs through May 21st but, judging by the uproarious response from Monday night's crowd, tickets are likely to sell faster than you can say "HOCKADOO." For tickets and more information, visit www.Theatre3Dallas.com.

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