By Thompson Eskew
The “home of the blues” comes to Alexandria! The latest production from the Little Theatre of Alexandria soars with a song in the 1950s race-driven musical story, “Memphis.” It’s an uplifting adventure that will leave you with its songs stuck in your head and a heartfelt message stuck in your heart.
Initially a 2009 Broadway production by Joe DiPietro, LTA’s production follows the career of underground singer Felicia Farrell and starstruck wannabe D.J. Huey Calhoun.
Across 2.5 hours, director Rikki Howie Lacewell’s show is filled with uplifting songs and beautiful choreography that make audience members want to get up and sing along while dancing to the beat.
The story of “Memphis” was loosely adapted from the real events of the city’s underground dance clubs in the 1950s, focusing around the all-too-real racial tensions between white and Black communities in the American South, but also delivering the message that music is something that can cross that divide. Unafraid to utilize the more colorful language that was used against Black communities in this era, “Memphis” does not shy away from the harsh realities of mid-20th century America.
Taking the reins as one of two cast members for the role of Felicia Farrell, the skilled Khanner Hancock makes her LTA debut with an emotionally – and vocally – captivating performance. Stealing the spotlight with her great stage presence, Hancock’s powerful voice shows great versatility in her array of musical numbers throughout “Memphis.” Joined by a remarkable ensemble, viewers feel as if they are in an actual underground club as the group performs each gorgeous song.
Felicia’s story wouldn’t be what it is without the luck-driven mishaps of the eccentric Huey Calhoun, played charmingly by Garret Rinker. Delivering an all-too-believable rendition of the Memphis “redneck fool” with nothing but love in his heart, Rinker’s LTA debut in “Memphis” is memorable. Rinker’s Calhoun is someone who stays true to his convictions, even at great personal cost. While Felicia’s great talent ultimately shines through – and is recognized and rewarded – Calhoun’s heart is in Memphis.
In addition to Hancock and Rinker, the “Memphis” cast of 28 has no shortage of talent. Anthony Davis, as Felicia’s overprotective brother Delray, brings the necessary antithesis to Calhoun’s upbeat attitude. LTA newcomers Lavender Brio and Kemuel Van Der Puije portray loyal friends Bobby and Gator respectively, adding the necessary light-heartedness to a story set in a time of deep historical tension and violence against Blacks. And the semi-antagonistic pair of Huey’s mother Gladys Calhoun and the radio station producer Mr. Simmons are marvelously depicted by LTA alums Nikki Arbiter-Murphy and Peter Fannon.
The excellent sets enhanced this LTA production. From an underground bar setting and outdoor walkway to a radio station and living room, every scene transitions flawlessly into the next without distraction or grand pause.
Despite the heavier themes surrounding the musical’s tumultuous setting, the cast and director manage to balance the issues of racial boundaries with humor and musical wit. From the small jabs about a character’s mannerisms to the occasional use of profane language, audiences will find a laugh in every scene between the opening and the curtain call, making small changes from the original musical for their benefit.
“LTA works hard to tell the story with the specific viewpoint and the people that are a part of it now. … We look at all of those relationships and all of those words with a new eye to understand what they mean to these actors in our show,” one of the producers of “Memphis,” Jennifer Thomas, said in an interview.
Pietro’s musical naturally provides the public with a clear lesson to ponder after the show, as any good story does. The moral of “Memphis” remains a timeless message of love and unity: that not only are our similarities more powerful than our differences, but that music is the bridge to help us cross those divides.
“I had the opportunity to see [Memphis] on Broadway, and the impact it still had on me then and the impact it still has on me now is how important and relevant the story is. … It’s a very touching story. It does make you think a lot about the world we live in, and how we can better support and love each other,” Thomas said.
Written by Joe DiPietro. Music by David Bryan. Orchestrations by Daryl Waters and David Bryan. Produced by Eleanore Tapscott and Jennifer Thomas. Directed by Rikki Howie Lacewell.