Submitted by ROY C. DICKS — Correspondent
DURHAM
The Tony Award-winning "Memphis" has much of what makes a successful Broadway musical: star-crossed lovers, big production numbers, down-to-earth humor and an uplifting message. The energetic, likable national tour cast guarantees an engaging evening and makes it easy to overlook a generic score and some clichéd scripting.
The plot is inspired by 1950s Memphis deejay Dewey Phillips, one of the first to play black performers on a white station. Here the character is Huey, a quirky loner drawn to Beale Street's soulful music. There he's entranced by talented singer Felicia. At first dubious of this intruder, she's eventually charmed by his wild promises to get her on the radio and into the recording studio.
Huey's quest triumphs over many obstacles, landing him his own radio and TV programs, where Felicia gets hit-making exposure. The two become lovers, but a rift occurs when Felicia wants to go North to further her career and freely marry Huey. But Huey's local success makes him want to stay in Memphis, where he naively assumes he can change society's acceptance of their love.
Bryan Fenkart makes Huey a lovable bumbler, awkward but determined. He's a strong singer and humorously delivers the character's loop twang, although it becomes wearing by evening's end. Felicia Boswell gives Felicia an attractive, no-nonsense character, while her intense, hall-filling vocals are the show's highlights.
Will Mann's Bobby, the shy station janitor turned TV personality, has several endearing solos, along with Julie Johnson as Huey's strict Mama and Kent Overshown (the understudy on Tuesday) as brooding club owner Delray. Many ensemble members get chances to shine, kicking up a storm in Sergio Trujillo's sexy choreography and snappily executing Christopher Ashley's precise direction. David Gallo's station booth, nightclub and streetscape settings make atmospheric backdrops for Paul Tazewell's snazzy period costumes.
David Bryan, a founding member of Bon Jovi, gets all the right period sounds and rhythms in his songs, but none are particularly distinctive or catchy. Joe DiPietro's script has a lot of human comedy but falls back on several stereotypical elements of the rise and fall of entertainers' careers.
Still, there's no question about the show's feel-good qualities and fine performers, making it easily recommended to Broadway musical fans.
