Seeking your purpose in life is already a difficult task, but in the 1950s, it was even harder. The barrier of racial segregation defined the relationship between white and black people in the United States, and it would take civil disobedience to break that barrier.
In Phoenix Theatre’s production of “Memphis,” directed by Michael Barnard, the audience is taken to the streets of Memphis, Tennessee, where change and excitement are approaching fast.
This four-time Tony Award-winning musical creatively narrates the birth of rock ‘n’ roll and seamlessly shows the effect music had on the nation to take action against racial discrimination.
I’m not a Phoenix native, so I was unfamiliar with the Phoenix Theatre. I am a fan of musical theater, so I jumped at the chance to see Memphis after learning how close the theater is to ASU Downtown. When I walked inside and saw the set alone, I could tell I was in for a special treat.
“Memphis” was bursting with energy from the opening scene until the end. Huey Calhoun, played by CJ Pawlikowski, helped bring this energy to life. Calhoun is a young rhythm and blues fanatic with radical ideas about racial inclusion. He wants to bring black rock ‘n’ roll music to the white radio waves.
Calhoun quickly learns that not many people are as open to change as he is. He makes it his goal to convince and persuade the Christian white and soulful black people that all music is meant to be shared, sung and played together.
Pawlikowski brought this character to life with his warm, rich voice. We aren’t only introduced to Pawlikowski’s chops, but also to Tia DeShazor, who plays Felicia Farrell, the Diana Ross-esque woman whom Calhoun predicts to be a radio star. Farrell’s friends and brother prove to Calhoun that music is in the African-American soul, and he tells Farrell that their music deserves as much recognition as white music receives.
This begins Calhoun’s movement to bring those voices and sounds to the ears of Memphis and America. Every actor executed this passion flawlessly in the first act, with famous numbers such as “The Music of My Soul,” “Colored Women,” “She’s My Sister” and “Say a Prayer.” There is just enough singing, dancing and acting that you’ll still want to see more during the second act.
After the first act, I didn’t think the second could compare — but I was quickly proven wrong by one of the most hysterical numbers in the show. Bobby, played by David Robbins, is a man who doesn’t express himself musically as much as his friends, but surprises himself and the audience with his passion for music and entertainment when he rocks the house with the song “Big Love.”
In this act the audience sees change occur not only in the relationship between the two races but also in the way Calhoun and Farrell view each other. Calhoun knows his purpose in life is to be a radio and television star who brings awareness to new forms of music and works to end racial discrimination. Farrell learns that her purpose in life is a little different, and she must take the necessary measures to make her dreams come true — even if it means leaving the one she loves behind.
The audience, like the characters, are torn between two sides and provoked to think “If I was in their shoes, what direction would I go?” One of the final songs in “Memphis,” titled “Memphis Lives in Me,” illustrates Calhoun’s internal and final struggle to seek his purpose in life and choose between something and someone he loves.
The show ended with an upbeat clap-along song as well as a standing ovation from the entire audience for every actor’s bow. I would say “Memphis” at the Phoenix Theatre is a must-see.
“Memphis” will be playing through Oct. 12. Tickets are between $30 and $75.
Contact the author at Louisa.Stanwich@asu.edu. Contact the columnist at molly.bilker@asu.edu
