Review: WHEN ELVIS MET THE BEATLES at Ogunquit Playhouse

In the annals of rock n roll, two names rise to the surface.  Elvis Presley, the greatest solo performer of all time and The Beatles, a musical foursome that change the very shape of music for an entire generation and beyond.

In the Ogunquit Playhouse world premiere performance of "When Elvis Met the Beatles," there’s electricity in the air surrounding an infamous day when the two seismic icons met. 

Based on the book “Elvis Meets the Beatles” by Christopher Hutchins and Peter Thompson, and show book by Colin Carberry and Glenn Patterson, the stage version brings to life the August 1965 encounter that has been the subject of countless rumors and endless fascination. The show is more than just a trip down memory lane, rather it is a meticulously crafted theatrical event that captures the soul of a legendary night seemingly lost in time with little or no evidence of photos, recordings or news reports.

The first act details the rising fame of the musical performers. The show introduces the beginnings of the Beatles in Liverpool spiraling to the mop haired British invasion that saw them stirring American fans in an iconic appearance on the Ed Sullivan Show.

The Elvis story is one of an ebbing career. It, too, arose from a simple start to a career that was on a skyrocketing path until he was drafted into the military. While Elvis impressed many with his willingness to serve, it stalled his burgeoning career. After his service ended, he quickly went from impressive concerts to a series of movie productions that showcased his good looks and charisma with bland and predictable soundtracks.

Beatles publicist, Christopher Hutchins (Dan DeLuca) in search of an epic story, first proposes that the icons meet. But that only starts the negotiations. Would Elvis make the trip to meet before the Beatles or would the youthful foursome show up at his door as if visiting the Gods in Mecca?

The first act is a historic narrative of the careers of John Lennon (Sam Sherwood), George Harrison (John Drinkwater), Ringo Starr (Jed Feder) and  Paul McCartney (Sam C. Jones) along with their manager, Brian Epstein (Steven Tesley). Their story runs parallel with that of Elvis (Daniel Durston) with glimpses of life with his manager, Colonel Tom Parker (Bruce Sabath) and his wife, Priscilla (Bella Serrano). There are also cameos of his contemporary performers Mama Morton (Kris Lyons), Hank Snow (Danny Hayward), and Little Richard (Marcus Antonio), the threesome giving stellar portrayals.

The first act ends with the climactic moment when the two parties meet in a mansion rented by Elvis in Bel Air, California. An awkward face off leaves the audience wondering how the rest of the meeting with go.

Act two quickly dives into the depth and breadth of what presumably happened during that one time only meeting.

The driving force of the show is less on the spectacle of the meeting and more on the realistic conversation, tension, and nuances of what might have happened when the larger than life performers found themselves in an everyday setting.

Each have their shining moment. Elvis starts with a stirring love ballad to wife Priscilla that shows the emotion and range of Durston.  His character is a simmering Elvis; unhappy, unfulfilled, and ready to pounce on opportunity. With an occasional Beatle’s tune, Elvis plays guitar and shares in the vocals. It doesn’t appear like a concert but what might really happen when friends gather to jam.

There’s even a farfetched duet between Feder and Serrano as Ringo and Priscilla who use a pool table as a backdrop for a campy version of “Act Naturally.”

But it is the variety of small discussions among characters that really capture interest. Discussion gets heated at times but the parties disperse with a new found appreciation and respect for one another.

The cast, a group of powerhouse performers who act, sing and play their instruments, creating a showcase trifecta, embodies these icons with remarkable nuance. Durston’s portrayal of Elvis is truly captivating. Very much resembling Elvis, he captures his look, swagger, and charisma. He handles every vocal challenge extraordinarily.

The actors playing the Beatles don’t miss a trick with a British invasion aura that perfectly defines the innocence and sudden journey to fame in their careers. 

The Fab Four are portrayed with a deep understanding of their individual personalities. Jones handles Paul's effusive charm and even his left handed guitar playing, Drinkwater handles George's quieter curiosity, and Feder perfectly shows Ringo's innocence and wackiness. Sherwood’s John is among the more powerful portrayals capturing the sharp wit, natural leadership and political rancor of Lennon.

The evening comes and goes as do the lives of the performers. The Beatles continue a rise to fame. Elvis reinvents himself through earthshattering performances in Las Vegas.  But with the untimely deaths of Elvis, Lennon and Harrison, any proposed reunion would never take place.

DeLuca’s character is a home run hit of the evening. As the narrator, he drives the action by talking through the fourth wall directly to the audience. His animation and vitality is highly engaging. It is a fabulous moment when his character impishly asks the audience to imagine for just a moment what it would have been like had the music masters appeared together on stage. This leads to a spectacular ending with the Beatles and Elvis performing each other’s hits. The Ogunquit stage becomes a rock concert arena with no one in their seats and most singing along. It is theatrical magic.

The music, of course, is a crucial element, and the music director, Christopher D. Littlefield, weaves it in beautifully. Not a full scale musical, this is a dramatic piece enriched by musical moments. The show features non-stop hits. “That’s Alright,” “I Want to Hold Your Hand,” “Rock and Roll Music,” “Shake, Rattle, and Roll,” “All Shook Up,” and “Help.” It is a rock fan’s personal juke box. 

Director, Hunter Foster understands that the true drama of the script and he allows the story to breathe, giving space to the awe, the rivalry, and the surprising camaraderie that unfolded at the meeting.

Klara Zieglerova’s set design begins with a bi-level glass wall set adorned with vinyl albums like a shrine, large screen TVs and pulsating lighting that morphs seamlessly into recording studios, street settings, performance venues and whatever settings are needed. Crafty staging with projection designs allows for fluid transitions and makes the stage seem double its actual size.

While the first act nicely sets up the story to the monumental meeting, the show could easily shave off about 10 minutes leading toward intermission. I found my interest wanning as the anticipation of the meeting grew and the narrative began to stall. A few edits would make a more enjoyable evening of theater.

For Ogunquit audiences, this world premiere production is a chance to witness a mythic event brought to life with historical accuracy and artistic flair. It’s a night where legends truly met, not just on a stage, but in our collective memory.