Relatively few musicals have caught fire in the way that Million Dollar Quartet seems to. But then, what other musical can lay claim to some of rock’s most familiar icons – Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins? This name familiarity may be a part of the show’s appeal, but it can’t fully explain this jukebox musical’s worldwide success. On the night when Quartetopened its Milwaukee premiere, other casts were performing the same show around the country, in New York and even in London.
The show is based on a real-life event in which some of the country’s most famed rockers, including Elvis and Johnny Cash, reunite at the place where it all began: Sun Records, a modest recording studio owned by Sam Phillips. A former disc jockey, Phillips discovered that he had a talent for recognizing what “the kids” wanted to hear. So he turned a converted auto parts store into a makeshift recording studio. The musicians that showed up on his Memphis doorstep were local boys, mostly poor and often discouraged. Somehow, Sam Phillips recognized qualities in these singers that others missed. So for one night in 1956, they returned to their roots.
The musical’s storyline is as much about the marketing genius of Sam Phillips as it is about the singers themselves. But above all, the music dominates throughout. The one-hour and 40-minute musical showcases a plethora of well-known hits, such as “Fever,” “Sixteen Tons,” “Great Balls of Fire” and “Folsom Prison Blues.” The show kicks off with “Blue Suede Shoes,” written by Carl Perkins (but, of course, made famous by Elvis Presley). In a bit of dramatic conflict, Perkins suggests that he really hasn’t forgiven Elvis for “stealing” his song. There is a bit of irony here, considering that many of the songs made famous by these early rockers came from African-American rhythm-and-blues singers. But as Phillips points out, he needed to find a talented “white boy” who was more palatable to his target audience in the late 1950s. (It’s surprising that the dialogue doesn’t mention that many famous African-American musicians recorded on the Sun Records label, too.)
In any case, the answer to Phillip’s prayer was Elvis Presley. Elvis, returning to Sun Records as a Hollywood star and music sensation, tries to minimize his phenomenal success. He also hasn’t forgotten what Phillips did for his career. “You saw things in me that I didn’t see in myself,” he says. Perkins and Cash echo similar sentiments.
In Quartet, the personal relationship between Phillips and his performers is placed in stark contrast to the “business” side of the business. Phillips recalls when he had to “sell” Presley to RCA in order to keep Sun Records afloat. Now that his fortunes have improved, Phillips is determined to keep Johnny Cash at Sun Records. However, Cash has other plans. At first, Phillips doesn’t take the news well. For awhile, it seems as though the future of Sun Records hangs in the balance. And yet, a scrappy new kid has entered the scene. Named Jerry Lee Lewis, his overconfidence makes the more-accomplished artists bristle. But his exuberance wins them over, and he practically tears up the keyboard the minute he sits down at the piano. In addition to Lewis, Phillips also mentions that he has just signed “a weird-looking guy named Roy Orbison.”
These inside jokes are designed to delight the audience, and they do. Perhaps the funniest statement is when Elvis begins to lament the awful reception he recently received in Las Vegas. He vows never to play there again and, of course, we all know the rest.
The four musicians (accompanied by fine back-up players) seem to connect most easily when they are playing together. Even Elvis’ girlfriend (Kelly Lamont) gets caught up in the moment. Among the highlights is when Johnny Cash sings “I Walk the Line.”
As Cash, Derek Keeling seems to delve into the deep soul of this revered singer. Not only does Keeling wow the audience with “Walk the Line,” a tender tribute Cash wrote for his wife, but he does a spot-on version of Cash’s voice on “Sixteen Tons” and “Folsom Prison Blues.” One can clearly hear the pain in his voice.
As Elvis Presley, Cody Slaughter is no slouch, either. Not only does he have the requisite pompadour, Slaughter does a great impression of Elvis’ swiveling hips. The cast performs all of its own music, and they excel in this respect.
Since Carl Perkins is perhaps the least-known quartet member, one can only guess at the accuracy of actor Lee Ferris’ musical style. His sizzling guitar work takes a lighter touch on the humorous novelty tune, “See You Later, Alligator.”
As Jerry Lee Lewis, Martin Kaye practically bounces off the walls. Lewis’ sassy mouth prompts several rebukes by Phillips, who at one point loosens his belt and glares at the youngster. Thankfully, Kaye is able to release all that energy with “Great Balls of Fire,” which practically brings down the house. Only the finale, a revved-up “Whole Lotta Shakin’ Going On,” followed by “Hound Dog,” can top that musical moment.
