I will admit I wasn’t particularly familiar with Memphis, and assumed it was some sort of a rock and roll jukebox musical. However, Stars was having a BOGO, my wife wanted a companion to see it, and Perrin Swanson was directing it, so I decided to go, despite a busy weekend. It was well worth it.
Memphis is loosely based on a pair of pioneering disc jockeys from the 1950s, Dewey Phillips and Alan Freed. Elements of each as well as events in their lives are combined in the character of Huey Calhoun, a white redneck with a love for black music who becomes a popular DJ playing rock and roll.
The real-life Phillips and Freed were both instrumental in bringing “race music” to a broader - meaning white - audience. Freed may deserve credit for popularizing the term “rock and roll,” and both were notable for promoting integration and equality.
The musical takes inspiration from these real life figures, but fleshes out the story, and mostly leaves out the later tragedies. Phillips died of a heart attack at 42, and Freed was caught up in the payola scandal and struggled to find work later in life. Neither ever won the nationwide fame for their work, leaving others like Dick Clark to reap the rewards of their work. But, it’s a musical, so it can’t be a total downer, right?
The musical expands the story beyond just Huey to include a mostly black cast of singers and dancers. Huey discovers Felicia singing in an underground black nightclub, and promises her that he will get her singing on the radio. When he does, she gets her big break, and a music career.
Felicia and Huey start a relationship, which is disapproved of by her brother Delray, and his mother, Gladys. Their competing visions for their future also threatens their relationship.
So, you have Huey’s story as a DJ, a forbidden love story, a musical career, and a whole lot of song and dance. Sure, as a musical, the plot is a bit Broadway, but it is both a lot of fun and a rather raw look at the racial prejudice that still haunts our nation.
I won’t spoil any more of the plot than that.
Stars is one of two local theaters that feature live bands, and in this case, the band rocked hard and steady all night. (And yes, full disclosure, Bakersfield is a small musical community, so I know and play with members of the band, and am thus a bit prejudiced.)
The singing and dancing was excellent, and the sound production was the best I have heard in a while. The balance of the voices and band was proportional and clear. I also thought the glam costumes were gorgeous.
There are far too many ensemble members for me to mention everyone, but I’ll give a group endorsement for the energy they brought to the music and dance and all the little things that are easy to take for granted in a production. (And also to Nick Ono for the choreography - Nick is a man of so many talents onstage and backstage.)
The lead parts were a mix between local theater regulars that I have seen for years, and some newer faces that got a chance to shine.
Jake Wattenbarger as Huey has been in quite a number of local productions at a variety of venues. He took a hiatus during the pandemic to get his degree, but is back now. He twanged his way through the part, capturing a certain combination of inspired and socially awkward that was believable. A few notes at the top of his range tended a bit flat, but even that seemed in line with his “white boy trying to fit into black music” vibe, which was his character. It was easy to root for his success, and feel for his failures.
I don’t think I had seen Avery Gibson (Felicia) in a musical before - although she was stunning as Antigone at CSUB five years ago. And damn, can she sing. And dance and act. I really hope to see more of her on stage. In this role, she switched well between the singing diva commanding the stage to the vulnerable and tender young woman caught between love and ambition.
The three best voices, in my opinion, though, belong to a trio of secondary roles. I mean no shade to the other singers, but these three are just amazing.
First is Caley Mayhall, who I first heard on the Stars stage in Ragtime, and she pretty much brought down the house. Since returning to Bakersfield, she has become one of those singers I will go hear anywhere. Just this last fall, she was part of the Bakersfield Symphony’s Porgy and Bess concert, covering the secondary female solos alongside the touring professionals. Oh yes, she can do opera. In Memphis, she had a few bit parts, but it was in the ensemble where she brought the power - the vocal thunder and lightning.
Second is Jehdiah Woodrow, who I knew best as the frontman of local band NSA Music Live - and let me tell you, his Michael Jackson and Prince covers are amazing. As club owner and the brother of Felicia, he didn’t get to show off his four octave range, but he sounded great and brought the character to life.
Finally, E. Lamar as GATOR, the (initially) mute bartender who finally speaks - and sings at the end of the first act. Another great voice.
I also want to call out Ty Halton, who at this point seems to be in everything from Shakespeare to musicals, and always makes me smile. As Bobby, the janitor turned star, they got a chance to really bust some moves, and it was pure energy and joy.
I’ll also give mentions to stage veterans Julie Gaines (as Gladys), Rob Lang (as the station owner, but also a real-life DJ for many years), and Randy Jelmini (as a handful of mostly unpleasant bigots) for solid supporting work. And, as I mentioned before, a great ensemble.
Perrin Swanson is no relation (that we know of), but he has been involved with local theater in every possible capacity for many years. If you peruse the “drama” index of this blog, you will find him mentioned regularly. Most recently, he has been directing, and I have to say, I have really loved his vision, both in his choice of plays, and in his thorough and imaginative bringing to life of the stories. Just last year, he both directed and acted in Bernhart/Hamlet, where his attention to detail and excellent casting made for a fine small space and limited budget gem.
Memphis runs the next two weekends, and I strongly encourage Bakersfield locals to go see it. A diverse cast, a bit different from the usual fare, and an excellent production make it worth seeing.
Also, many of us theater lovers like to complain about seeing the same old musicals over and over; but new and more risky productions will only be done if theaters can pay their bills. This is one of those musicals that lacks the name recognition of the usual warhorses, so it needs our support. If we are committed to seeing diversity on stage, behind the stage, and in the selection of plays, we need to get out and fill those seats!
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