Memphis Broadway Review Matrix: Should You See It?
BROADWAY MAGAZINE—Last night, Broadway welcomed the new musical Memphis as the show celebrated its official opening night. Today, Broadway theatre critics have offered their opinions of the new musical from David Bryan of Bon Jovi and Joe DiPietro. A close reading of 10 opening night reviews of the production presents incongruous results. While some critics praised the new musical for its story and songs, others found the show synthetic and soul-less, more predictable than provocative. Numerous critics noted that Memphis is a “black musical written by white guys.” Critics were essentially in agreement that the cast was talented, and that the musical covers ground that will be familiar to fans of Hairspray and Dreamgirls (both shows were referenced directly in multiple reviews). Design elements also merited substantial praise as well. With a mix of fervent supporters and indifferent detractors, Memphis could have quite a successful run on Broadway as one of the few original musicals to open this season.
Three Key Take Aways From Opening Night Reviews of Memphis
- Derivative– Though the book by Joe DiPietro for the musical Memphis is new, multiple critics observed that there is something derivative in the play’s story of the power of popular music to combat racism. While not all critics agreed that the music was derivative, even positive critics noted that there is predictability to this story.
- Talented Cast – Most critics were in agreement that the cast of Memphis is composed of extremely talented singers with powerful voices. Many found the choreography to be noteworthy, and considerable praise went to director Christopher Ashley.
- Only Rock N Roll?—With David Bryan’s score embracing a range of musical styles relevant to the storyline, rock music is only one dimension of this score. Incorporating gospel, R & B, and blues music as well, Bryan continues to display his chameleon-like musical gifts which are also apparent in the vast range of musical styles employed in his Off Broadway hit Toxic Avenger.
Should You See Memphis On Broadway?
Yes, if you like rock music, new musicals, Hairspray, Dreamgirls, Bon Jovi, 1950s, David Bryan, Joe DiPietro, talent singers, exuberant choreography, gospel, R & B, outstanding production values, Toxic Avenger, inter-racial romance, discussions of racism, DJs, records, radio, Beale Street, and of course the city of Memphis.
Overview of Opening Night Reviews For Memphis
While the all-important music, by Mr. Bryan of Bon Jovi, competently simulates a wide range of period rock, gospel and rhythm and blues, the crucial ingredient — authentic soul — is missing in action. –Charles Isherwood, New York Times
The show is entertaining but synthetic, its telepic plotting restitching familiar threads from “Hairspray” and “Dreamgirls,” while covering fictitious ground adjacent to that of recent biopic “Cadillac Records.” –David Rooney, Variety
Add extremely inventive, multifarious scenery by David Gallo, exhilarating costumes by Paul Tazewell, and unostentatiously incisive lighting by Howell Binkley, all this coordinated and magisterially deployed by Christopher Ashley’s direction, and you have magic even before you get to the performances. –John Simon, Bloomberg
But then it helps also that “Memphis” has been expertly cast and is superbly sung, particularly by its two leads, Chad Kimball as the brash, irrepressible Huey and a striking Montego Glover as Felicia. –Michael Kuchwara, AP
(Chad)Kimball, coming across like an older, Southern-twanged version of Christian Slater in “Pump Up the Volume,” makes for an offbeat but unforgettable leading man, and his hilarious and ultimately deeply moving performance will be well remembered come awards time.—Frank Scheck, Hollywood Reporter
As Felicia, Montego Glover is a dynamic and sensual performer with a powerhouse voice that brings down the house. –Matt Windman, am New York
It’s tough to see how Montego Glover’s elegant Felicia could be attracted to Chad Kimball’s buffoonish Huey, who suggests a cross between an aging stand-up comic and a parody of George W. Bush in his frat-boy heyday. –Elyssa Gardner, USA Today
But Christopher Ashley’s direction generates a strong pace, and the choreography by Sergio Trujillo (”Jersey Boys”) keeps the ensemble hopping. –Malcom Johnson, Hartford Courant
Unfortunately, with the exception of Kimball’s Huey, the characters come across as two-dimensional clichés—clichés who can sing but clichés nonetheless—so when Felicia is brutally attacked by racist thugs, it’s strangely unmoving. –David Sheward, Backstage
The remarkably rich and raucous character-driven songs, by Bon Jovi cofounder David Bryan, lovingly capture the insinuating, earthy authenticity of rhythm and blues, gospel and early rock and roll without sounding derivative. –Linda Winer, Newsday
December 23rd, 2009 at 12:10 am
Yes it is similar to Hairspray in some respects. It is however, a terrific piece of entertainment. “Not perfect” say thecritics. “Who cares” said me, my wife and 99% of the audience who had a great time. The fact that the audience was overtly rooting for the cast and show is a rare sight yet the reviewers above seemed to ignore it. We saw it on a Tuesday night with a mix of tourists and locals who unabashedly tapped their feet, were into the show and clearly felt they got more than their money’s worth. So did we.
Not to compare it with A Chorus Line, but I saw that one three times and it wasn’t ‘perfect’ either.