On December 4, 1956, an auspicious twist of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley together. The place was Sun Records' storefront studio in Memphis. The man who made it happen was Sam Phillips, the "Father of Rock 'n' Roll," who discovered them all. The four legends-to-be united for the only time in their careers for an impromptu recording that has come to be known as one of the greatest rock jam sessions of all time.
MILLION DOLLAR QUARTET features a treasure trove of the greatest rock 'n' roll, gospel, R&B and country hits from these music legends, including such iconic songs as "Blue Suede Shoes," "Fever," "Sixteen Tons," "Who Do You Love?," "Great Balls of Fire," "Riders in the Sky," "I Walk the Line," "Folsom Prison Blues," and "Whole Lotta' Shakin' Goin' On." MILLION DOLLAR QUARTET captures the infectious spirit, freewheeling excitement and thrilling sounds of a singular moment when four of the music industry's most extraordinary talents, all in their creative prime, came together for one of the most memorable nights in music history.
Folks are paying a lot of money and some of them like to know where that money went. But the finale is really about the music. And in this case, the money would have been far better spent on hiring a decent dramatic writer who could have added some subtlety and veracity to a crude book from Colin Escott and Floyd Mutrux that still dispenses thudding anecdote, easy trivia and crude linkage instead of the live, credible, complex conversation of a quintet of icons of American rock ‘n’ roll.
Unfortunately, almost the last thing that Million Dollar Quartet feels like is an impromptu jam session. What it is, instead, is a musical drama—albeit one lacking in suspense, since we know before it starts how it will come out—about Sam Phillips, presented here as the founding pioneer of rock & roll, and how the 'boys' whom he nurtured to fame one by one abandon him. Interspersed throughout this drama are the songs of the jam session, often played in snippets so that the story can play out literally between verses. (For example, 'Great Balls of Fire,' the climax of the session in this musical, is interrupted twice by Phillips's soliloquizing.) Because the narrative is constructed so snugly around and within the songs, and because the performances are glitzily polished (as one would indeed expect at a Broadway musical charging $125+ for tickets), spontaneity is pretty much vanquished from the proceedings. And of course spontaneity would seem to be the precise feeling that the creators of this show ought to be going for if they want to re-create the unplanned brilliance of that famous evening.
2010 | Broadway |
Original Broadway Production Broadway |
2011 | West End |
Original London Production West End |
2011 | Off-Broadway |
Off-Broadway Transfer Off-Broadway |
2011 | US Tour |
National Tour US Tour |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2010 | Drama Desk Awards | utstanding Musical Revue | Million Dollar Quartet |
2010 | Outer Critics Circle Awards | Outstanding Featured Actor in a Musical | Levi Kreis |
2010 | Tony Awards | Best Book of a Musical | Colin Escott |
2010 | Tony Awards | Best Book of a Musical | Floyd Mutrux |
2010 | Tony Awards | Best Musical | Relevant Theatricals |
2010 | Tony Awards | Best Musical | John Cossette Productions |
2010 | Tony Awards | Best Musical | American Pop Anthology |
2010 | Tony Awards | Best Musical | Broadway Across America |
2010 | Tony Awards | Best Musical | James L. Nederlander |
2010 | Tony Awards | Best Performance by an Actor in a Featured Role in a Musical | Levi Kreis |
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