Review Roundup: MEMPHIS Opens in the West End

The West End production of hit Broadway musical Memphis, directed by Christopher Ashley, opens tonight, October 23, 2014, at the Shaftesbury Theatre. Winner of four 2010 Tony Awards, including Best Musical, Memphis has an Award-winning original score by Bon Jovi founding member David Bryan and book by Joe DiPietro.

Led by multi award-winning recording artist Beverley Knight as club singer 'Felicia Farrell' and stage star Killian Donnelly as radio DJ 'Huey Calhoun', the cast also features Rolan Bell as 'Delray', Tyrone Huntley as 'Gator', Claire Machin as 'Gladys', Jason Pennycooke as 'Bobby' and Mark Roper as 'Mr. Simmons'.

Inspired by true events from the underground dance clubs of 1950s Memphis, Tennessee, Memphis follows the fame and forbidden love of a radio DJ who wants to change the world and a club singer who is ready for her big break.

Let's see what the critics had to say...

Kevin Sherwin, BroadwayWorld: ...this new West End arrival is a production that pulsates with infectious energy -- the frantic choreography is excellent throughout -- and ultimately leaves its roaring audience on its feet until long after the cast has left the stage...The show is unchanged from the version that sort-of wowed Broadway, but this iteration has two ace cards up its sleeve in the form of its stars; truly, Killian Donnelly (as Huey Calhoun, the naive DJ with a heart of gold) and Beverley Knight (Felicia Farrell, a singer in need of her big break) deliver two of the most exhilarating performances an audience is likely to witness this year. In Donnelly's hands, Huey is far from the almost irritating oddball he veered towards being on Broadway and his impeccable comic timing and soaring vocals are given their perfect showcase here...While Huey is the show's lead character, the rug is pulled from under his feet on a regular basis by Beverley Knight's Felicia...Knight's extraordinary vocals create several electrifying moments where all I could do was shake my head in disbelief at what I was hearing.

Dominic Cavendish, The Telegraph: After months of same-old same-old, change is a-comin' to the West End musical...It boasts some of the most thrilling vocal work you'll find on the London stage, in its roof-raising evocation of the birth of rock'n' roll. The UK production's star draw is "British soul queen" Beverley Knight. Her voice is so extraordinary -- seemingly containing the force of a blast furnace -- that were she signed to do just one number, this would still be an event...Knight's acting versatility isn't on a par with the power of her lungs -- despite multiple costume-changes, her unwavering look is one of barely perturbable beauty. Yet she and Donnelly convince as tentative lovers across a vigilante-policed racial divide. And the whole show works as one lithe-limbed organism, greater than the sum of its derivative parts.

Theo Bosanquet, WhatsOnStage: ...what it lacks in narrative subtlety it makes up for with a sound as rich as you're likely to hear on any West End stage. That's thanks in no small part to the efforts of Beverley Knight, who has graduated from The Bodyguard to playing Calhoun's protege and love interest Felicia with a poise that confirms the former chart topper as a bona fide West End star. And as Huey, Killian Donnelly is allowed to unleash the full range of a voice that deserves better than the jukebox fare he was given in The Commitments...I can't pretend the book and lyrics of Joe DiPietro are among the most sophisticated you'll encounter. In fact a few lines and narrative twists are so crass to be almost laughable...But hey, this is a night to leave your narrative nit-comb at the door and sit back and enjoy the music.

Terry Eastham, London Theatre 1: Beverley Knight revels in playing the fragile yet ultimately tough Felicia. Along with her undoubted acting skills, her truly amazing singing voice and vocal range are there for all to hear and fall in love with. But, this is not just a vehicle for Beverley, as all of the cast can really sing, dance and act. Killian is no stranger to the West End and puts his heart and soul into Huey, using his superb voice and stage presence to breathe personality and charm into the awkward, geeky and in many ways very naïve character...Christopher Ashley's direction is superb and David Bryan, Music and Co-Lyrics and Joe Dipietro's Book and Co-Lyrics are just amazing. All in all this is a really superb show with everything right. There was real contact with the audience all the way through...The exuberance and enthusiasm of the cast clearly loving their roles spread throughout the theatre right through to the end.

Edward Seckerson, TheArtsDesk.com: It's throwback week on the West End, with two very different shows recalling the darkest days of America's racial disharmony. But whereas The Scottsboro Boys shocks and satirises and has us choke on our own laughter, Memphis is content to be the feel-good flipside. Throw a few home truths and some grit into the mix -- disturbing but not too real -- keep it predictable and sentimental, even a little patronising, and you ensure that everybody is dancing in the aisles and feeling good about themselves at the close...Subtle or innovative the show most certainly is not, but it knows its audience and both promises and delivers the kind of party where the quality of the numbers matters less than the fervour with which they are despatched by a high-octane company...But the star of the show is undoubtedly Donnelly, whose Huey creates an entirely new and quirky leading man. He's heartfelt, dynamic, infectious, affecting - he's one of the few things in the show that is truly believable.

Georgia Mizen, The Upcoming: After a slightly shaky start, Knight enters the stage -- and the hearts of the audience -- for her opening number, stealing the show with her knock-out voice of undeniable power and soul. From beginning to end she is the powerhouse of the performance, the audience holding their breath as she pounds out song after song. Polished and utterly American, the production is peppered with dry humour that plays cleverly on racial tensions and the politics of the age. Mind-blowing dancing lightens the tone in big numbers such as Make Me Stronger and Stand Up...The pace is energetic, with several showstopper moments, but a lapse towards the end hampers what is otherwise a compelling piece about talent, tolerance and taking risks. Memphis employs almost every trick in the cliché book to hit the story home, but if the reaction of the audience is anything to go by, they really don't mind.

JM, So So Gay: When a production transfers from Broadway you know it's going to be good, but that's the understatement of the century from the loud, proud, foot-stomping Memphis. With leading stars Beverley Knight and Killian Donnelly -- who are quite possibly one of the finest, most gifted duos in town right now -- this funky little musical is set to take the West End by storm...Beverley Knight is simply sensational, and her vocals runs and riffs send goosebumps up and down your spine. She's fast securing herself a reputation as a serious leading lady, and we're excited to see where this path will take her next. Killian Donnelly is also a real crowd pleaser throughout. Not only does he have the voice, but he's got a real cute naivety that makes you fall head over heels for his goofy charm...The production is tight, snappy and leaves you beaming from ear-to-ear.

Photo Credit: Johan Perrson