REVIEW: Sydney Opens The World Premiere Of Sean Cercone And David Abbinanti's New Musical ELVIS A MUSICAL REVOLUTION

Saturday 5th August 2023, 8pm, State Theatre Sydney

ELVIS - A MUSICAL REVOLUTION is an enlightening and entertaining new bio-musical about the late Elvis Presley.  Authorized by Elvis Presley Enterprises, this new work by Sean Cercone and David Abbinanti (writers) is bought to the stage by producer David Venn, under Alister Smith’s direction.

Presented in the wake of bio-musical theatre tributes like TINA-THE MUSICAL and Baz Luhrmann’s 2022 movie ELVIS, it is surprising that it has taken almost half a century for Elvis Presley’s story to be turned into a musical.  For ELVIS – A MUSICAL REVOLUTION, Cercone and Abbinanti present a non-linear insight into Elvis’s life and the elements that influenced his music.  It spans from his childhood in Tupelo Mississippi where he received his first guitar at the age of 11, sharing songs hymns and ballads with his mother Gladys (Noni McCallum) and his time frequenting Miss Betty’s (Zuleika Khan) record shop to listen to new releases from the likes of Sister Rosetta Tharpe (Jo-Anne Jackson) and Roy Brown (Joti Gore), to his further exploration of musical styles after his family’s move to Memphis Tennessee, particularly those being shared by the Black pop, country, R&B and gospel singers, refusing to be constrained by the social prejudice that still segregated society.  These early influences are woven with the better known milestones of his career, from his start at Sun Records, pushed forward by receptionist Marion Keisker (Kirby Burgess) when Sam Phillips (Ben Hall) had already discounted him, to Colonel Tom Parker (Ian Stenlake) acquiring his contract and discounting his band of Scotty Moore (Aidan O Cleirigh), Bill Black (Hanlon Innocent) and DJ Fontana (Connor Morel), when he saw them as surplus to Elvis’ future success. 

With much of Elvis story linked to recording studios and movie sets, Set Designer Dan Potra has created a flexible space that draws influence from the brick and steel warehouses and recording studios.  Movable beams and pillars allow the space to be constrained for intimate moments while having the flexibility to clear the stage for large ensemble numbers and a revolve adds movement and energy.  A rear balcony allows for vertical variety, particularly the positioning of young Elvis (presented by Rhys James Hankey on opening night) who overseas much of his older self, providing an anchor to Elvis’ roots, particularly when his goals start to stray.  Isaac Lummins costuming assists the time shifts as styles change from simpler shift dresses of the 1940’s to the 1950’s full skirts and sleek catsuits of the 1960’s and shows the evolution of Elvis’ style from the early days when he, and his band focused on the music rather than the clothes to forming a public image for concerts and television to his later leather clad resurgence on the 1968 Comeback Special which led to the iconic jumpsuit era.

Given the story centres on Elvis’ influence on music, ELVIS – A MUSICAL REVOLUTION features over 40 of Elvis’s hit songs, led by musical director Daniel Puckey.  The music of the generation was also paired with a vibrant dance scene and Choreographer Michael Ralph ensures this energy is conveyed with big ensemble numbers that works its way through the different trends that prevailed.  Sound designer Greg Ginger layers sounds of the city to the work while Declan O’Neill’s lighting evokes concert vibes, studio scenes and more intimate domestic scenes.  Archive footage and projections of years helps track the non-linear timeline and reinforces that this story is based in truth though the layering and texture of the backdrop does make a number of the projections hard to see, particularly for any audience members not seated in the centermost line of the theatre.

ELVIS – A MUSICAL REVOLUTION proved a strong celebration of Elvis’ sound and his story.  It celebrates his views on inclusivity and his refusal to be put off spending time with the Black community that influenced his style.  Going beyond the music, it also highlights the women that influenced his life, from his mother with whom he had strong relationship, his first girlfriend Dixie Locke Emmons (Sienna Embrey) who provided the money to cover the tax for the $3.98 recording session at Sun Records that sparked Marion’s attention, and Pricilla Beaulieu (Annie Chiswell), the Army brat that would overcome her resentment of his career that took him away from Graceland and her jealousy of his on-screen partner Ann-Margaret Olsson (Kirby Burgess) to be his wife, at least for 6 years.  The work also doesn’t shy away from Elvis’ not so nice behavior including his appalling disrespect to his musicians and his manager and his insensitive attitudes towards Pricilla. 

Taking on the iconic role, Rob Mallett allows his expression of Elvis to grow and mature through the performance, taking him from the enthusiastic young man wanting to break into the business with his own sound to being Colonel Parker’s product, developing an ego that overshadowed awareness of how he treated others and eventually pulling himself out of his self-imposed exile and returning to the stage.  He delivers some strong numbers that replicate Elvis’ sound and style including the leg shaking dancing that caused so much controversy at the time.  His portrayal works well with Rhys James Hankey’s expression of the young Elvis, ensuring that the humanity that the young Elvis had carries through in his relationship with his mother with a poignant scene recounting his emergency leave from the Army to see his mother in her final days. 

ELVIS – A MUSICAL REVOLUTION is a treat for any Elvis fan and for anyone that has an interest in the evolution of contemporary music. 

https://elvisamusicalrevolution.com.au/

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