I have seen a lot of great theatre. I've also seen a lot of bad theatre; leave-as-soon-as-the-curtain-drops-so-no-one-asks-my-opinion sort of "bad theatre." It is my belief that you can find either end of the spectrum at any theatre, from professional to community. However, there's a blatant stigma attached to the latter. Community Theatre? Boo, hiss. Insert pursed lips of judgment. If your six year old nephew isn't premiering in a production of ALICE IN WONDERLAND, what's the point of going? Why bother when there are professional theatres in the area promoting proper productions? Community Theatre? Pfft.
These people, some of whom I have had lengthy discussions regarding theatre snobbery, were surely not present during any of the sold out performances of St. Petersburg City Theatre's (SPCT) "MEMPHIS THE MUSICAL."
It's the story of Huey Calhoun, a young, White, high school dropout living in segregated 1950s Memphis, TN. When he meets Felicia Farrell, a talented Black singer whose immense talent feeds his penchant for "Black Music," he vows to get her on the center of the radio dial.
Racism, forced separation, violence, and the pressure behind making unpopular personal choices are among many recurring themes in the show.
It's a large cast made up entirely of volunteers; dedicated men and women of all ages who came together during their precious free time to bring MEMPHIS to St. Pete. After the show I spoke to SPCT's Executive Director,
Megan Byrne, who gave me some insight on members of the cast. I learned that
Danielle James, who plays Felicia, arrived to a rehearsal in her cap and gown having come directly from her college graduation.
James stuns on stage a Felicia. Her voice is exceptional and her performance, expertly directed by Erica Sutherlin, exudes both confidence and grace.
She plays well against Ross McCulley-Young's brazen and unique portrayal of Huey. McCulley-Young is no stranger to SPCT's stage, and his comfort in front of a large audience is apparent. With a thick Southern drawl, and a bevy of conflicting fabric patterns, McCulley-Young's Huey was a joy to watch.
Near the end of Act One, there's a rise in tension and then Jonathan Isaac sings for the first time. Isaac plays Gator, a character who stands mute for most of the first act. The sounds that pour from him at the end of the first act are heartbreaking in the best way.
There were a few moments when certain mics briefly cut out during the show, and this could typically be a death sentence for a musical for obvious reasons. It was so infrequent that I almost considered not mentioning it, but I am because the few times I couldn't hear a lyric, I wasn't really bothered. I didn't care because of the jumps, turns, splits, and jazz hands happening elsewhere on stage. The dancing I witnessed was among the
best I have ever seen.
Rodney Hamilton's sensational choreography paired with Gillian Bertrand's flawless costume design created a visual, jewel-toned masterpiece.
This is the first time SPCT has brought a live band on stage, which added to the atmosphere. I'm not sure pre-recorded instrumentals could have matched the feelings invoked by the live musicians. They were more than background; integral parts of the story unfolding before the audience.
The diligent cast and crew of MEMPHIS THE MUSICAL brought to life a story that is especially relevant in today's racially charged climate. It is uncommon to see so many people of color on stage. Byrne informed me that it was actually difficult to find White actors for some of the roles. When have you ever heard of a shortage of White faces? Byrne said that they plan on making a point to bring more diversity to the stage and to raise the bar with the work they present. Inclusion must start somewhere, and this community of players took a big step with a powerful show.
To those who raise their noses at the idea of seeing Community Theatre, I remind you that this show has been extended. This is the first time since 1985. MEMPHIS THE MUSICAL will close Sunday, February 14, 2016.
St. Petersburg Theatre is located at 4025 31st St. S. St. Petersburg, FL. You can reach the box office at: (727) 866-1973, or find them online: www.spcitytheatre.org
Photo credit: Jessica Burchfield
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