Memphis: The Musical

Interracial relationship!? Cue the SCANDAL.

I got a chance to see Memphis (Tony winner!) last night (instead of Reel Big Fish, two doors down. Boo.) and boy, was I in for a surprise. Hock. A. Doo.

I think this is the first time I saw a Broadway show not knowing what to expect (Xanadu- I don't think anyone knew what to expect; my first time seeing Les Miserables, I was too young to grasp the concepts. Liked the music though). Something about rhythm and blues, rock and roll, integration, what have you? More specifically, a white man gets a radio job, begins to play "race music" on a predominantly white station (with an affinity for Roy Rogers), falls in love with a budding black singer, and fights for integration while rarely dealing with the consequences? Sure! I mean, I liked Hairspray.

Integration? Check. Love story? Check.
Jerome Robbins' inspired choreography? Check.

The music, the choreography (Sergio Trujillo has a bunch of Jerome Robbins' works under his belt) is amazing. It was enough to keep me happy for the entire night. It's fun, it's snazzy, it's modern yet classical Broadway. It was refreshing to see something 95% original. The costumes, something I rarely pay attention to, were to die for, particularly Felicia's dresses. And the set design was something I had never seen; one minute you're downstairs in the club with the sidewalk visible in the upper windows, the next, you're in a department store or radio station. That alone exceeded my expectations. Conceptually, visually, Memphis succeeded on every level.

"NOT" a nod to Little Richard. Or James Brown. Or anyone else.

It did fail in some areas though. The simple story was a bit weak and definitely fantasized- integration on the television and radio would definitely not be that easy. I know Hairspray made it look easy, but Hairspray didn't deny its comical nature and completely accepted that it was a happy-go-lucky. There was a murky balance between comedy and seriousness. It seemed like it didn't know where to go and was unconvinced in either aspect, and as a result, both sides were, well... half-assed. It was trying to be normal while trying to be Superman as well. As a result, I didn't care about the story so much as I cared about the next toe-tapping number; I didn't care for Huey as much as I cared for the supporting character of Gator; and I was more excited for the ensemble pieces than the solos. And I didn't know whether to love Huey or hate him; his ignorance was both sweet and irritating. I was satisfied with the ending, "Oh okay. That's nice"- but not in an overwhelming matter, rather thinking "This is a great song!" But was I looking for perfection? No. There's only so many times I can be absolutely blown away, like with Les Miserables or The Producers. I was looking for some feel-good entertainment. I got it.

More than anything, Memphis is FUN. It has memorable performances from all the characters, all of which require a mad amount of talent. We get to see Montego Glover and dozens of other performers at their finest. The music is really layered and rich and fits the time period perfectly. There's enough gospel to inspire and enough rhythm and blues to dance to. There's references to Michael Jackson, James Brown, Dick Clark. And the character of Mama, as she accepts that the world is getting a little smaller? Priceless.

Where Memphis wins is in its enthusiasm to perform its biggest and best numbers- where the dancers can really shine and the singers can belt. That was enough for me to thoroughly enjoy and even sing the end number on the ride back. Highly recommended, though I wouldn't say to get too invested in the story; just sit back and let your eyes and ears feast.

Don't be fooled. This guy can get BUSY.