Memphis, The Musical

“Memphis, The Musical” is all it promises to be and not a bit more. It is musical -- and only that. There is no book. There are only a few events between songs. But all and everything in the production is down to the music and the really great dancing. Unfortunately, there isn’t enough music for two full acts. Because the second act sounds like a reprise of the first act even the full-out, rip-roaring dancing seems repetitive in the second act. The talent is there -- more than just there. The ensemble and the featured players are a fresh and lively group of superb singers and dancers. They need more material to work with.

Montego Glover as Felicia Farrel, especially needs more singing to do. She is Broadway electric. She is in charge of her material and has the vocal confidence to avoid the over-do. But the music is too quick to leave Memphis. In fact the music seems to leave town a lot faster than the characters. By the second act you have a hard time hearing even a glimmer of that Memphis blues-iness that the characters are talking about -- and that they served up in the first act.

Chad Kimball as Huey Calhoun, the white D.J. with a love for Black music, should sing more, too. He has a lovely singing voice with a twangy resonance that sounds Tennessee white and urban to me. I found this quality annoying in his speaking voice so I think he should have done more singing.

Another reason the players should all have sung more -- especially the lovers, Felicia and Huey, is that they are far stronger singers than actors. The love affair between the two is a little thinly realized on both parts.

The dramatic set-up is thin, too. Granted it is hard to have a feel good musical about a feel bad time in our history, but there is too little menace in the segregated community of this play’s landscape. A few unfortunate things happen, but people talk about it more than bring it to the audience.

The set is economical, but not much to see. I attended a preview performance, but there is nothing rough or unpolished about the production. Originally produced by North Shore Music Theatre and Theater Works and is co-produced by LaJolla Playhouse and 5th Avenue Theater in Seattle.

Everybody in the show can blow -- and dance. I liked Cass Morgan as Mama. J. Bernard Calloway is notable. Give him another song! Derrick Baskin as Gator is a standout in acting and singing. And the ensemble is strong vocally. There is one female voice that rises to the rafters on every group number, but the performer is impossible to identify. Kudos to this wailer. But because this is a classic broadway musical -- a skeleton script wrapped up in song and dance numbers -- IT NEEDS MORE SONGS!

Dreaded Tourmaline had a real New York encounter after the show when she tried to race a senior citizen to a stcky, red table in Times Square. He squealed, "My wife is sitting there." Dreaded Tourmaline replied, "Okay. Sorry," and headed to another red, sticky table and matching chair. There she drank her grande pumpkin spice frap from you know where. D.T. finished the outing at MELBA'S restaurant uptown at 114 and Fred. Douglas. This place is part of the lively , cosmo scene in Harlem. MELBA'S food is better than most and the room is cozy and well appointed for an after (or before) anything meal. I give them ten tourmalines for excellence for the collard green spring rolls! Check them out at: www.melbasrestaurant.com