Review: ELVIS-A MUSICAL REVIEW at Dutch Apple Dinner Theatre

Elvis-A Musical Revolution is a new bio-musical that recently opened at Dutch Apple Dinner Theater.  Featuring 40 of his songs, the show celebrates the life of the King of Rock and Roll.  William Draper stars as Elvis Presley.  Draper doesn’t especially look like him, but his voice does have a similar pitch and tone.  I would have liked to see more of Presley’s charm and charisma, which would make him appear more likable.

The story is told in non-chronological order, beginning moments before Elvis’s 1968 Comeback TV Special.  Afterwards we travel to 1947, and experience parts of the singer’s childhood. We meet “Kid Elvis” played by Brodie Kennedy (Carter Geesaman plays the role at other performances). We learn how the two “M’s” influenced Elvis’s life (Mamma and music).

Kennedy is impressive as Kid Elvis.  His role was more substantial that I originally expected, the non-chronological nature of the piece allows him to pop in from time to time, and even have a conversation with his adult self at the show’s climax. His interactions with his mother, Gladys (Josey Miller) were sweet and supportive.  The audience got a good understanding why this woman was so well loved.

The show did not prioritize accuracy in the portrayal of recognized celebrities.  Neither Colonel Tom Parker (Brandon Kallen) nor Frank Sinatra (Sam Pottinger) resembled their real life counterparts.

Probably the biggest challenge of the show is the pacing.  Some of the scenes went on too long, others seemed disjointed or unneeded (especially some of the gospel numbers).  Pacing issues are probably related to show’s decision to present events in a non-chronological order.  It was difficult to maintain narrative momentum when we kept jumping around.

The last scene of the show takes us full circle, back to the 1968 Comeback Special.  I was fully expecting this to be a powerhouse, celebratory climax with Elvis taking center stage with a dynamic performance.  Instead, I was baffled by an anti-climatic set of numbers sung by the show’s chorus which doubled as their curtain calls.  Elvis stayed over to the far side of the stage with his back to the audience.  Why?

Some of these concerns are the fault of the script while others could be significantly improved with insight from show director, Dean Sobon.  Elvis-A Musical Revolution is not among the better musical theater bio-shows.  Jersey Boys, Get on your Feet, and Buddy-the Buddy Holly Story are all significantly better.  Ironically, it is not even the best Elvis bio-musical.  Check out Million Dollar Quartet instead.

While I appreciate Dutch Apple’s effort to put something different on their stage, sometimes the risk doesn’t match the reward.

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