'Memphis The Musical' Shaftesbury Theatre *****

In the southern states in the USA during the 1950’s a bond between a black person and a white person was seen as completely unsavoury, nonetheless when the formation of rock ‘n’ roll connects such people together then the perception needs to be radically amended. The West End transfer of Joey DiPietro and David Bryon’s powerhouse musical, ‘Memphis The Musical’ was categorically a masterpiece of musical theatre, what is more, the portrayals were astonishingly implemented.

‘Memphis The Musical’ is clearly situated in Memphis, USA where we’re familiarised with aspiring radio DJ, Huey Calhoun who enters an all-black underground Rock ‘n’ Roll bar as he really enjoys their music. The manager of the bar, Delray (Rolan Bell) and the customers are quite perturbed by his appearance.  Huey persuades them to stay and when he is about to lose his job he thinks that this genre of music needs transmitting, even though he loses his job records do get sold.  Huey soon becomes captivated by Delray’s sister, Felicia, who is vastly gifted and this soon aids both parties.  When Huey applies to become a DJ, one of the vendors, Mr Simmons (Mark Roper) allows him to do a trial run in which he chooses to play African-American music; this move proves to be monumentally successful as many teenagers are begging for more of Huey’s taste and unique style of presenting. This is evident when he goes down a storm due to his catchphrase “Hockadoo” for a commercial which persuades people to purchase it and leads to it selling out quickly. Prejudice is ever prominent when Huey’s bigoted mother, Gladys who when acquainted with Felicia outrageously smashes up a record that Delray has paid for as it is about to be played on the radio. The next day comes and Huey brings together a band and backing singers to perform the track with her and due her mammoth attainment both black and white teenagers become accepting of each other’s race.  When Huey proposes to Felicia she declines as this is against the law in the southern states of the USA. Years pass on by and Huey is the host of his own TV show which only features black dancers/singers only and when Felicia is due to sing she backs out as she knows people may think they are in a relationship. As such; Huey notifies Bobby (Jason Pennycooke) to perform instead, even though he is apprehensive he unleashes fire on the TV audiences amazingly. Huey and Felicia’s relationship is on the rocks as Felicia lands a record deal in New York, conversely Huey is hesitant to leave Memphis as TV networks are opposed to black singers/dancers.  He soon is axed from his job and is given a job at a low-budget radio broadcaster. At the finale, Felicia returns to his life but is engaged and this really moves Huey to proper tears as he remains besotted by her, so he tries to win her back by performing in her touring show. DiPietro’s narrative is stupendous as a musical about inter-racial couples is exactly what the West End tries to avoid and with such musical numbers by Bryon such as; “The Music of my Soul”, “Coloured Woman”, “Crazy Little Huey” and “Change Don’t Come Easy” were phenomenal pieces of musicality. Dazzling,   

One found the performances by the company of, ‘Memphis The Musical’ to be extraordinary through unmatched vocals and dance executions.  Beverley Knight is divine as glistening Afro-American, Felicia; predominantly when she sings “Someday” leads one to gain goose-bumps as her physicality in this musical numbers moves me to tears, moreover, her scenes with Huey shows how much she really wants to be with him no matter what. Matt Cardle is terrific as cheeky pioneering DJ, Huey; how his principals with retaining the black presence in his show shows how his morals are increasingly solid and never changing, additionally his singing abilities in “Steal Your Rock ‘n’ Roll’ shows he has progressed since his win on The X Factor in 2010. Claire Machin is excellent as Huey’s mother, Gladys; expressly when she decides to go to a black church and her opinions soon change as she soon appreciates to gospel aspects of the music which leads to you thinking you should listen to your son/daughter also. 

Christopher Ashley’s direction and Sergio Trujillo’s choreography are stunning here as they have encapsulated a tremendous story of how times have changes and how many people need to still improve the ideas of the world, plus the ensemble company was so flawless that made me want to join them on the Shaftesbury stage, simply incredible. David Gallo’s set design and Paul Tazewll’s costume designs are heavenly as you can immediately transported to the Memphis environment and there is an essence of campness that exudes through the female costumes. Furthermore, the scenic carpentry and scenic art is so impressive that my eyes kept focusing on this element. Overall, the experience of, ‘Memphis The Musical’ was a high energy musical that really makes you want to go again.