Review: MEMPHIS Tears Down the House in Jacksonville Beach

It's a thrilling experience for an audience when the curtain opens and there is an explosion of pure energy that grabs you and does not let go until the curtain call. The musical MEMPHIS has exploded on the stage of Players by the Sea Theatre in Jacksonville Beach, Florida, garnering much deserved praise, sold-out houses, and spontaneous standing ovations that begin even before the final number has finished.

We are thrust immediately into the pounding beat of Delray's, an African-American dive on Beale Street in the dangerously racially-divided Memphis of the early 1950's. The power of the cast's opening number "Underground" is nearly tangible and the audience is held spellbound by a cast who are clearly 100% invested and committed to a production whose quality transcends standard "community theatre" fare.

A good-natured young white ne'er-do-well named Huey, played with delightful abandon by Rodney Holmes, intrudes on the disbelieving crowd at Delray's and finds himself enthralled with the headlining songstress named Felicia, Delray's sister, who is performed with class and passion by Rashawnda Foster. As both of their stars rise, Huey and Felicia's taboo interracial relationship is tested and pushed to its limits, particularly as Felicia experiences the dangers of "a dark-skinned girl stuck in a light-skinned world." The chemistry between Foster and Holmes throughout the show is beautiful and natural and their voices both alone and together are extraordinary.

Other stand-out performances include Milton Threadcraft III as Delray, whose strong physical, vocal, and emotional stage presence provides a foil for the impulsive Huey as he attempts to shield his sister from the danger he sees. Janitor-turned-right-hand-man Bobby is played by Sam Brown and his 11-o'clock number "Big Love" brings down the house, as does Willie Beaton II's "Scratch My Itch" and Tina Wilson's gospel solo in "Make Me Stronger." The traumatized Gator, played with intense compassion by Brandon Hines, stuns the audience with his Act One closer, "Say a Prayer." Finally, in the role of Huey's Mama, Gloria Ware delivers her character with guts and sensitivity, most notably in the simultaneous humor and drama of her ferocious turn, "Change Don't Come Easy."

Director Jereme Raickett has assembled a powerhouse cast of 30 professional-calibre performers and his kinetic direction keeps the story moving even through numerous but seamless scene changes. Fortunately, Raickett knows when to slow the action down and let the moment speak for itself, allowing the simple power of an actor singing a ballad standing motionless and alone in a spotlight.

Choreographer J'royce Jata provides the stellar and nearly continuous dance in the production. Of particular note are principal dancers Tamia Brinkley, Arielle Bryant, Bertha Jones, Linzy Lauren, Jamil Abdur-Rahman, Beaton, Clayton Ridley, and Tre Ventriglio. The electricity generated by this octet of dancers throughout the show should earn them all tax credits for the amount of down-and-dirty renewable energy they produce.

Music Director Meachum Clarke, delivers glorious roof-raising vocals from both the soloists and ensemble while keyboardist and conductor, Anthony Felton leads an orchestra of seven talented musicians. Katie Dawson, Jim Wiggins, and Keisha Burr provide the simple but effective scenic, lighting, and costume design that provide a wonderful physical space for the denizens of 1950's Memphis.

Beneath its surface entertainment value, theatre is arguably at its best when the story being told has something significant to say about the human condition - a story that disturbs, enlightens, challenges the audience. MEMPHIS is one of those stories - one that hopefully "lives" in the minds of the audience and creates opportunity for discussion and contemplation long after the final curtain. Race relations have come a long way since Memphis in the 1950's but, given the current political climate and some who would claim that we live in a "post-racial" society, most would agree that issues raised in the musical are still with us and we have a long way to go. As Huey sings about "the music in his soul," we all need to recognize that the music we all share will give us hope.

MEMPHIS will be playing for one final weekend this Thursday, Friday, and Saturday night, August 11, 12, and 13 at 8:00 p.m. at Players by the Sea Theatre in Jacksonville Beach, Florida. Performances have been selling out quickly, so get your tickets at www.playersbythesea.org or by calling the Theatre at (904) 249-0289.

Photo credits: Ramona Ramdeen and Chance Usina

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