This slick but formulaic entertainment, written by David Bryan and Joe DiPietro, barely generates enough heat to warp a vinyl record, despite the vigorous efforts of a talented, hard-charging cast. While the all-important music, by Mr. The amiable Chad Kimball plays Huey Calhoun, a high school dropout who stumbles into a black nightclub on Beale Street one happy night, seduced by the sound of the music he hears rumbling beneath his feet. At the department store where he works stocking shelves, Huey charms the manager into letting him take over the record department. Deep-sixing Perry Como, he soon has the white clientele twitching their hips and snapping up 45s of a song about scratching a certain itch. Huey is fired, but the process is repeated at a local radio station where he applies for a gig. Throwing on a hot platter, he instantly has all of Memphis getting down. This sentiment might be expected to raise more than a little hell in the South of the era, but Huey snags the job and finds a vocation. But guess what?
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But there are plenty of other diversions, including new developments in entertainment: the opening of Ballet Memphis theater; adaptive reuse projects with significant public art spaces; and an expansion of the museums devoted to Elvis Presley. A bike share system is set to debut this spring, and there is much to discover in lively art districts like Broad Avenue. On April 2 to 4, the city, and specifically the site of the former Lorraine Motel, will mark the solemn 50th anniversary of the assassination of the Rev. Martin Luther King Jr. Visitors pass through rooms dedicated to the Jim Crow era; a replica of the Montgomery bus where Rosa Parks refused to give up her seat; and lunch counters where students held sit-ins in the s. Transitioning to King and his civil rights activism, the emotional journey culminates outside room , the well-preserved hotel room he occupied before he was shot on the balcony. The exit from the museum annex across the street delivers visitors to South Main Street, a historic district undergoing renewal, including the transformation of the former train station into a hotel.
Set in the turbulent south in the s, it is the story of Huey Calhoun, a white radio DJ whose love of good music transcends race lines and airwaves. Get ready to experience all the exuberance and the emotion You're tuning in to Memphis, so turn up that dial! This slick but formulaic entertainment, written by David Bryan and Joe DiPietro, barely generates enough heat to warp a vinyl record, despite the vigorous efforts of a talented, hard-charging cast. While the all-important music, by Mr. Bryan of Bon Jovi, competently simulates a wide range of period rock, gospel and rhythm and blues, the crucial ingredient — authentic soul — is missing in action. The sensuous, soulful sound of rhythm 'n' blues hits the audience right from the start of "Memphis," the exhilarating new musical now shaking Broadway's Shubert Theatre. Take a deep breath as the curtain rises because the exuberance doesn't stop.
What never changed in all that time was the actor who played Huey, Chad Kimball. And no one else but Montego Glover played the female lead, Felicia Farrell, who was transformed from a token love interest to a hard-as-nails careerist to a more rounded woman. She was also the one who ended up bearing the brunt of the hate-crime assault. Kimball and Ms. They were neither stars nor household names, who are more than ever in vogue in Broadway casts. And if the musical received mixed reviews from theater critics, the two actors drew praise for performing their numbers as if it were the first time and not the th. Kimball said in an interview at the Shubert Theater before a recent performance there, sitting closely beside Ms. How salty should Felicia be? How malleable is their relationship? How much of their story is a love story?