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Great balls of fire! MILLION DOLLAR QUARTET delivers early rock’s raw energy

THE BASICS:  MILLION DOLLAR QUARTET, a musical by Colin Escott & Floyd Mutrux, directed by Randall Kramer, starring Brandon Barry, Steve Copps, Jeffrey Coyle, Arianne Davidow, Joseph Donohue III, Brian McMahon, Andrew J. Reimers, and Dave Siegfried, opened on April 19th and runs through May 28th, Wednesdays and Thursdays at 7:00 p.m., Fridays at 7:30, Saturdays at both 3:30 & 7:30, and Sundays at 2 at  MusicalFare Theatre, 4380 Main Street (easier entrance is off Getzville Road) Amherst. Beautiful lounge with full-service bar, coffee, snacks. (839-8540). www.musicalfare.com Runtime: 1 hour 45 minutes without intermission.

THUMBNAIL SKETCH:  MILLION DOLLAR QUARTET is a musical inspired by a one-time recording session at Sam Phillip’s Sun Records in Memphis that brought together on a Tuesday night, December 4, 1956, early rock ‘n’ rollers Elvis Presley and Jerry Lee Lewis, Johnny Cash and rockabilly’s Carl Perkins for the first and only time. While it might seem like a “juke box musical” due to a score of over 20 hits including “Blue Suede Shoes,” “That’s Alright Mama,” “Sixteen Tons,” “Great Balls of Fire,” “I Walk the Line,” “Whole Lotta Shakin’,” and “Hound Dog”, no artificial plot has been forced on the action. It’s really more of a family reunion drama, where three older “sons” come home to see “dad,” share memories, sing harmony, reveal secrets, and meet “the new kid” who is as raw as they once were.

THE PLAYERS, THE PLAY, AND THE PRODUCTION: Let’s just get this out there: this is the new kid, Jerry Lee Lewis’s show (played by Joseph Donohue III). Early in the evening I kept thinking to myself “How can I write the review and be fair to everyone else?” By the end of the evening that was moot. I knew what director Randy Kramer must have known early on, and everyone else in the theater knew. Goodness, gracious, great balls of fire. That boy can play the piano, and sing, and act. Watch him when it’s someone else’s scene. He stays 100% in character. And did I mention how he rocks those 88 keys? Yes, he does all the classic Jerry Lee moves, kicking back the piano bench, standing up while playing, even standing on the piano. But observe his technique, with the wrist suppleness that most classical pianists at Kleinhans would envy, and the elegance to blend right in with everyone else’s numbers. Like fellow actor Brandon Barry (Carl Perkins), Donohue is a musician and plays in two local bands – THE ALBRIGHTS as well as ERIE LACKAWANNA RAILROAD – and I’ll be looking for their next gigs, believe me.

Also, right up front, let’s note that Brian McMahon (drums) and Dave Siegfried (upright bass) are at the top of their game in this production. Yes, we’ve heard them before, but whether it’s this material, these arrangements, who they’re with on stage, opening night energy, musical direction from Theresa Quinn, I can’t say, but they were right there all evening, playing clean as country water.

And the set. At MusicalFare, there is no curtain, so you get to see the sets as soon as you enter the theater, which is good, because sets by Chris Schenk are so beautifully thought out that they are worth admiring on their own. They are like beautiful automobiles. Sure, all cars can get you from here to there, but why not travel in style?

There’s the engineer’s booth behind glass (and where did MusicalFare get those vintage reel-to-reel tape recorders?), the main room of the studio with very cleverly recreated acoustic tiles, and an exterior set complete with ventilation grill and garbage can. Nice touch. So three separate areas on one smallish stage. And nicely lit by Chris Cavanagh.

Steve Copps as Elvis Presley and Andrew J. Reimers as Johnny Cash of course had big shoes to fill but also they were portraying artists with long careers who have spawned generations of impersonators. Admit it, you’ve probably imitated Presley or Cash yourself. So how do you recreate the man and not the legend? Kudos to director Randy Kramer for just having them play it straight. And the on-stage tension gives them a focus, too. As we meet the three Sam Phillips veterans – Cash, Lewis, and Presley – they are suffering from career doubts and anxiety as they grow farther and farther from “Mr. Phillips,” the man who took them in when they were nobodies. So, they have a dramatic role to play. They aren’t on stage just to sing.

Yet when they sing harmony, oh my. A Cappella four-part harmony is really tricky. But these guys make it soar.

Yet when they sing harmony, oh my. A Cappella four-part harmony is really tricky. But these guys make it soar. You may never hear a better “Peace in the Valley” (historical note: throughout his career Presley would always warm up backstage singing Gospel).

The character of “Denise,” introduced as Elvis Presley’s girlfriend is ably played, danced, and sung by Arianne Davidow who adds a nice touch to an otherwise testosterone-heavy line-up. I like Jeffrey Coyle (Sam Phillips) better in comedy roles, and I didn’t find his southern accent convincing, but at the end of the day, we’re there for the songs, so as the kids used to say “it’s all good.”

All in all, a fine show, with an ending that can’t be beat.

*HERD OF BUFFALO (Notes on the Rating System)

ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.

TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.

THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.

FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.

FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!

Written by Peter Hall

Peter Hall

Peter Hall continues trying to figure out how “it” all works. For Classical 94.5 WNED and on-stage with the Buffalo Chamber Music Society he’s conducted over 1,000 interviews with artists to get at answers. On “Theater Talk” his favorite question of co-host Anthony Chase is simply “What’s goin’ on?” In every situation he’s in Peter wonders: “What’s the big picture here?” And, “if I had to teach this, how would I break it down to explain it?”

That’s why he loves writing reviews. A show with a strong message that makes him laugh and cry and think about life is a good show. Heard Friday mornings at 6:45 and 8:45 a.m. on WBFO 88.7 FM “Theater Talk” repeats Saturday afternoons at 5:55 p.m. on Classical 94.5 WNED, the radio station where Peter is currently the afternoon drive host as well as producer and host of “Buffalo Philharmonic Live” (Sundays at 5 p.m. repeating Fridays at 10 p.m. on WNED). For the Buffalo Chamber Music Society he moderates on-stage pre-concert chats with the artists and is on-stage host of the Falletta (classical guitar) Competition.

Peter holds a B.A. in Comparative Literature from Columbia University and an M.B.A. from SUNY at Buffalo. For twenty-five years he has been an adjunct professor for Canisius College’s Richard J. Wehle School of Business. He is currently a member of the “Artie Awards Committee.”

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