Archive for David Bryan
NEW YORK TIMES
Sex and race and rock ’n’ roll made for a potent, at times inflammatory, combination in the 1950s, when the new musical “Memphis” is set. But there’s no need to fear that a conflagration will soon consume the Shubert Theater, where the show opened on Monday night. This slick but formulaic entertainment, written by David Bryan and Joe DiPietro, barely generates enough heat to warp a vinyl record, despite the vigorous efforts of a talented, hard-charging cast. While the all-important music, by Mr. Bryan of Bon Jovi, competently simulates a wide range of period rock, gospel and rhythm and blues, the crucial ingredient — authentic soul — is missing in action. Read the full review.
The sensuous, soulful sound of rhythm ‘n’ blues hits the audience right from the start of “Memphis,” the exhilarating new musical now shaking Broadway’s Shubert Theatre. Take a deep breath as the curtain rises because the exuberance doesn’t stop. Read the full review.
You might expect a show called Memphis, with a score by rock keyboardist David Bryan and a book by Joe DiPietro, whose last Broadway outing was the jukebox musical “All Shook Up,” to be an homage to Elvis Presley. It isn’t — and for that, the Presley estate owes Bryan and DiPietro a debt of gratitude. Read the full review.
A talented cast, stirring vocals, athletic dance numbers and vigorous direction supply crowd-pleasing elements in the lively new musical, “Memphis,” as evidenced by the waves of appreciation coming off the audience. But there’s also a nagging predictability to this story of a white DJ who brings rockin’ rhythm and blues from black Beale Street to the mainstream in 1950s Tennessee. The show is entertaining but synthetic, its telepic plotting restitching familiar threads from “Hairspray” and “Dreamgirls,” while covering fictitious ground adjacent to that of recent biopic “Cadillac Records. Read the full review.
AM NEW YORK
Contrary to popular belief, rock and roll did not start with Elvis Presley. The new Broadway musical “Memphis” depicts its birth among black singers in underground nightclubs on the now fabled Beale Street – and how the art form was soon pirated by white businessmen as a form of mass entertainment. Read the full review.
If you’re looking for a good time at the theater, Memphis may be just the show for you.
This slick and mostly entertaining new musical from the team that brought you The Toxic Avenger, centers on Huey Calhoun, a ne’er-do-well high school drop out who discovers his calling in promoting the rhythm and blues music of African-American singers, especially the beautiful and talented Felicia Farrell. Of course, Huey, who is Caucasian, falls in love with Felicia, and complications ensue.
Unfortunately, the musical is neither sensitive nor intelligent enough to handle these complications with the requisite depth, and this prevents Memphis from being a wholly satisfying musical theater experience.
Memphis belongs in a category of art led by “Mississippi Burning,” the 1988 film about civil rights, stories in which the white man gets a hefty amount of credit for a struggle he didn’t quite participate in. Memphis at least acknowledges this with passing references to the question of appropriation, as the basic story is one of white people finding success on black shoulders. On the whole, however, it feels overstuffed with broad simplifications and its only discernible theme or message is an uncontroversial plea for tolerance.
And yet, I had a great time. The production makes it pretty clear early on that, despite the seriousness of the subject, you are going to enjoy yourself watching it.
The pleasant but unremarkable score (David Bryan and Joe DiPietro) propels the show. There is hardly a moment without music, and it would take a stony heart not to groove a little in your seat. The book, by Joe DiPietro, is fast-paced and often funny, despite doing its fair share of pandering to an audience that is surely smarter than DiPietro assumes.
And the show boasts one of the most energetic and hardworking ensembles I’ve seen in a Broadway musical. They deliver Sergio Trujillo’s snappy and fun choreography with tremendous zeal and excitement. There are a number of fine dances peppered throughout, including one involving a group of girls jumping rope together, but Trujillo fails to seize many storytelling opportunities.
The production in general is upbeat and professional, but is often marred by a feeling of skimming the surface of what, frustratingly, must be a very deep pool. Characters are allotted their one emotion or conviction, as exemplified by the characterization of Delray, Felicia’s brother. He begins the show extremely protective of her and doesn’t seem to grow or change much in the course of its two and a half hour running time. This can be aggravating, since nothing Delray says ends up being all that surprising.
There is one standout performance in the piece, and that is Montego Glover as Felicia. The show only truly engages when she’s at its center, as in her first act dramatic number, “Colored Woman,” when she lets loose and bemoans a society that teaches African-American women not to dream.
But Huey (Chad Kimball) can’t seem to stop himself from stealing her thunder–despite vowing to make her successful–and it is his character that drives much of the action. His is a highly mannered form of showmanship, but he seems to hold the audience in the palm of his hand and received an enormous ovation at the close of the evening.
It’s always a pleasure to hear Cass Morgan sing, even if her character’s jump from stereotypical racist to beacon of tolerance is unsatisfactorily charted.
Musicals do tend generally to be light and upbeat and you can’t be too upset when one succeeds at being so. However, Memphis tackles a subject—broadly, American racism—that I feel deserves a little more nuance than the authors achieve. Nevertheless, the evening is an enjoyable one. I just wonder if you should leave a musical on such a heavy subject, turning to your companion and saying, “Boy, I had a terrific time.”
Peter Duchan is a playwright-screenwriter whose works have been screened at the Tribeca, South by Southwest, Gijon International, Brooklyn International, and many other film festivals. He was raised in Westport, CT and currently lives in Manhattan. He graduated from Northwestern University.
Peter was the winner of our September Memphis ticket giveaway.
Interested in guest reviewing a Broadway musical for the blog? Shoot me an email. I’m looking to assemble a great group of reviewers.
Chad Kimball (Into the Woods, Lennon, The Civil War) and Montego Glover (The Color Purple, Ragtime, Aida), who both originated the starring roles in the show’s pre-Broadway La Jolla and Seattle engagements, will star in the upcoming Broadway production.
The Broadway production will also feature J. Bernard Calloway (The Good Negro), James Monroe Iglehart (The 25th Annual Putnam Spelling Bee), Cass Morgan (Mary Poppins), Derrick Baskin (The Little Mermaid), and Michael McGrath (Spamalot, Is He Dead?). Ensemble members include: Jennifer Allen, Brad Bass, Tracee Beazer, Kevin Covert, Hillary Elk, Dionne Figgins, Rhett George, John Jellison, Sydney Morton, Vivian Nixon, John Eric Parker, Jermaine R. Rembert, LaQuet Sharnell, Ephraim Sykes, Cary Tedder, Danny Tidwell, Daniel J. Watts, Katie Webber, Charlie Williams and Dan’yelle Williamson.
Christopher Ashley (Xanadu) directs the Joe DiPietro written (I Love You You’re Perfect Now Change, The Toxic Avenger) and David Bryan scored musical (The Toxic Avenger) with choreography by Sergio Trujillo (Next to Normal, Jersey Boys), scenic design by David Gallo, costume design by Paul Tazewell, lighting design by Howell Binkley and sound design by Ken Travis.
Previews begin Sept 23 and the show officially opens on Oct 19.