WHAT: Million Dollar Quartet
WHERE: The Music Hall
BLURB: Top Notch - all of it
HIGH POINT: The Whole Dang Quartet
Corny but true: there's a whole lotta shakin' goin' on at the Music Hall; booties, hips, feet, heartbeats, whatever. They're all moving with the rhythm in Million Dollar Quartet, a Music Hall and Ogunquit Theatre collaboration, on stage at the Hall.
This one is sure to get your heart pumpin'; it's a corker.
"Quartet" is a jukebox musical, with a bit more going for it than most in the genre. As a category, this one usually offers tepid, and or preposterous storylines that are used to loosely hold together a string of popular pop tunes.
"Quartet" is based on an actual occurrence, a legendary jam session between four of rock and roll's iconic founding fathers, so the story is there. The script is fair, but better for knowing it's based on fact, which also makes the songs truly fitting.
The play is set in the Sun Recording Studies, Memphis, Tennessee, in 1956. Owner Sam Phillips (Bart Shatto) is overseeing a new recording by Carl Perkins (Christopher Wren). His band - Brother Jay (Nathan Yates Douglass) and Fluke (Keiran McCabe) are in for the session, along with a new piano player Philips insists sits in, by the name of Jerry Lee Lewis (Nat Zegree).
Elvis Presley (Daniel Durston) makes a casual appearance during the session, along with his girlfriend Dyanne (Evan Bertram). And after a call from Phillips, Johnny Cash ( Scott Moreau) comes by.
There is a bit more to the play, talk of relationships, and backstories, some played out, the rest shared by Phillips directly to the audience.
And of course there's the songs, some of the greatest tunes these artists produced, including Blue Suede Shoes, Folsom Prison Blues, Great Balls of Fire, I Walk the Line, and more, for a total of two-dozen.
But what really makes this show work is the performances of these musical classics. Even non-fans (imagine a raised hand) will find themselves hard pressed to remain unmoved by the prowess of those on stage.
Consider this cast a contemporary dream team, not to be missed.
To a person, the four principles bring it, infusing each of their distinct characters with authenticity. It's a masterclass in morphing.
No, they're not clones, they're better. It's exceptional talent that brings these icons to life. For each it's a tone used (example: Zegree's hyper Lewis), an intonation (Moreau's rich, deep voice bringing Cash's "presence"), the move of a foot or hip (Durston nailing Elvis's iconic moves), or a radiated attitude (like Wren's portrayal of Perkins' frustration and drive), that makes the magic.
It's not one strong element per artist - this one's got the voice, that's one's the actor, or that man can play. Each excels in all areas.
One performance does stand out; it's as written. Still, it's hard to imagine anyone having both the skill set and the energy to pull off Jerry Lee Lewis like Zegree does. It's simply a brilliant performance.
Zegree's Lewis is the comedic relief - a squirrel on speed, running around, constantly fidgeting and interrupting, but always endearing. It's all perfectly executed.
Better yet is Zegree's continued crazy while delivering one of the most entertaining musical performances you're likely to see.
Zegree plays the instrument one and two handed, with his foot, his butt, his head, backwards and in all sorts of body contorted positions, most often at lighting speed, still executing the tune perfectly. That even goes for the routine where he leaps over the piano, lands and continues, never missing a beat, twice in quick succession. The entire cast is worth the ticket price, have no doubt. But this one - bloody heaven.
Shatto plays Sam Phillips, the man who recognized each musician's potential, and that of Rock and Roll well before others in his field. Shatto gives a smart, easy performance whether he's casually addressing the audience or interacting with his "boys."
Bertram, stepping in for Megan Reinking, plays Dyanne. She brings grace and a nice touch to the all boys' club scene, along with a fine voice to Fever and I Hear You Knocking. Great job all around.
The show is rounded out with Perkins' mates, Nathan Yates Douglass as his Brother Jay, on bass, and Kieran McCabe as Fluke, on drums. Once again - talent. They fill out the sound (lord those drums), but also the show.
Director Hunter Foster brings it all together, character development, movement and timing.
Zegree, as if he didn't have enough to do, is the show's music director, and again brings it.
The production has a terrific, supporting director's team: lighting by Richard Latta, costumes by Molly Walz, wig and hair by Roxanne De Luna, and the original Broadway scenic design by Derek McLane, with additions by Adam Koch.
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