I laughed (a lot), and I cried, too (though not much) at Little Theater of Alexandria’s “Memphis,” an emotional roller-coaster musical, an outstanding performance, filled with song and dance to tell the story of a Memphis DJ who got his successful broadcasting start as a white man in a black man’s world of music.
“Memphis” is loosely based on the 1950s life of Dewey Phillips (1926 – 1968) and stars Xander Conte who absolutely steals the show as the subject, “Huey Calhoun.”
Conte is the adorable, Willie Nelson-like figure, an elfish-sort of character, and the host of a nightly radio show, “Red, Hot and Blue,”which has been languishing in low listener numbers until, until …He decides to play what the listeners want to hear, not what the radio station owner thinks he should play (Perry Como — Who’s that? At the Little Theatre, he’s Bill Barnes who delivers a good rendition of the crooner for those who remember Como (1912-2001).)
Floating like a butterfly and stinging like a bee hillbilly style, Conte dives, he bends, he rocks on his toes, he swirls all around, never in one place for long (nor do I recall that he ever stood up straight), while gradually enchanting a black female singer, Felicia Farrell (Khanner Hancock) whose rise to stardom Huey promotes throughout the show.
Huey crashes a black nightclub, Delray’s, on Beale Street, the famed Memphis landmark associated with the blues. After Delray’s, Huey proceeds to “adopt” the black music for his own radio show, but hold it! The radio station owner, Mr. Simmons (Peter Fannon) has other ideas until the ratings arrive and they talk! Like money! Big money!
Huey’s ratings soar. And so does Mr. Simmons’s flexibility. So much for change resistance.
Otega Okurume is “Delray,” who immediately rejects Huey’s intrusion at his club and, as the show proceeds, Delray becomes increasingly angry and frustrated over Huey’s affinity for his sister, Felicia, a singer seeking a break in the music business herself.
The overbearing Delray keeps a watchful eye on Huey to make sure he doesn’t overstep his bounds. (Which, of course, he does, but Felicia likes Huey’s “advances.” )
“Bobby” (Lavender Brio), is an energetic side show with a voice and presence who shows Huey how to read, thus starting a long relationship.
Kemuel Van Der Puije is “Gator,” a silent star who saves Huey’s thrashing by Delray when Felicia gets beat up by some racists who spot Huey and Felicia sharing a kiss. (After all, it is the 1950s when interracial signs of affection were not tolerated.)
The play has many domineering actors like Calhoun’s mother, Nikki Arbiter-Murphy, whose offensive words and demeaning language aim to hurt but it doesn’t take long for “Mums” to turn around.
Soon enough, New York City beckons and Felicia, wanting to boost her career, wants to go, but Huey resists (what’s this about change?). Felicia knows the Big Apple would be more tolerant of their interracial relationship than the Memphis environment, and besides, she “may make it!” She lands a gig and Huey’s new television show does, too.
What’s to stop love?
The racial themes in the show are pervasive undercurrents, not too dominant or numerous to detract from enjoyment of the show but enough to sensitize viewers that discrimination is to be acknowledged and eventually, overcome (we hope!).
To add in-depth experience and live music, Scott Richards leads a band of eight behind-the-scenes while Richards plays keyboard.
Other cast members are Christian Wilson, Darren Badley, Alyshia Bradley, Amber Champ, Anthony Davis, Makayla Davis, Kaya Harrison, Alexis Hooks, Jummy Lash and Andrea Trent.
Also, Brook Urquhart, Carla Wheaden, Matt Dunne, Maria Ciarrocchi, Daniela Eckert, Emma Lawson, Isabella Littleton, Nathan Nichipor, Rylan Snyder, and Garrett Rinker.
Creative team members include Stefan Sittig, choreographer of dance, intimacy and fighting; Eleanore Tapscott and Jennifer Thomas, producers; Jennifer Hardin and Caitlin O’Leary, stage managers; Julie Fischer, set design; Geoffrey Baskir, properties design; Ken and Patti Crowley, lighting; David Correia, sound; Farrell Hartigan, costumes; Robin Worthington, wardrobe; Kadira Coley, assistant director, and Larissa Norris, makeup and hair.
Director Rikki Howie Lacewell writes in program notes that the show “dares to shatter boundaries and challenge societal norms” since music “has the power to unite and inspire.” It can happen to you, too!
“Memphis” ran on Broadway from 2009 to 2012 and won four Tonys in 2010, including Best Musical. Some of the language makes it a “PG13” performance.
LTA is at 600 Wolfe Street, Alexandria 22314. The show runs through August 10, Thursday though Saturday at 8 p.m. with Sunday matinees at 2 p.m. Tickets are $39, with fees included. Call the box office at 703-683-0496, the main office, 703-683-5778, or email boxoffice@thelittletheatre.com.