Memphis

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Introduction to "Memphis"

"Memphis" premiered in London’s West End at the Shaftesbury Theatre on October 23, 2014, following previews from October 9, and ran for 407 performances until October 31, 2015. With music by David Bryan, lyrics by Bryan and Joe DiPietro, and a book by DiPietro, this musical is loosely inspired by Memphis DJ Dewey Phillips, a white radio host who championed Black music in the 1950s. Directed by Christopher Ashley, it starred Beverley Knight as Felicia Farrell and Killian Donnelly as Huey Calhoun. After a Tony-winning Broadway run from 2009 to 2012, its West End transfer won two 2015 Olivier Awards, including Best Musical, dazzling audiences with hits like "Memphis Lives in Me" and a tale of forbidden love and rock ‘n’ roll revolution, though it closed to make way for "Motown: The Musical."

The Creative Team Behind the Show

David Bryan, Bon Jovi’s Grammy-winning keyboardist, composed the soulful score with Joe DiPietro, who co-wrote lyrics and penned the book, drawing from their Tony-winning collaboration. Christopher Ashley directed, with Sergio Trujillo’s choreography infusing gospel and rock energy. Beverley Knight, Britain’s soul queen with an MBE, led as Felicia, alongside Killian Donnelly’s charismatic Huey later replaced by Matt Cardle in July 2015. Producers Junkyard Dog Productions and Marleen and Kenny Alhadeff, with David Gallo’s gritty sets and Paul Tazewell’s period costumes, crafted a £5 million spectacle. Rachel John took over as Felicia for the final weeks, while a robust ensemble including Rolan Bell as Delray brought 1950s Memphis to life, amplifying Bryan’s roof-raising sound.

A Rock ‘n’ Roll Love Story

In 1950s Memphis, Huey Calhoun, a white misfit, stumbles into Delray’s underground Black club, captivated by singer Felicia Farrell ("Underground"). Fired from a store job for playing “race music,” he lands a radio gig, vowing to air Felicia’s voice ("The Music of My Soul"). Their romance blooms amid segregation’s tensions her brother Delray and Huey’s bigoted mother Gladys oppose it but Huey’s on-air antics spark a cultural shift ("Everybody Wants to Be Black on a Saturday Night"). Offered a TV slot, he kisses Felicia live, tanking his career ("Love Will Stand"). Four years later, she’s a star, he’s a broke DJ, yet he stays, tied to Memphis and their past ("Memphis Lives in Me"). It’s a vibrant clash of ambition, prejudice, and music’s unifying power.

Performance and Reception

Opening to fanfare after Broadway’s four 2010 Tonys, "Memphis" ran 407 shows, with The Evening Standard’s Henry Hitchings calling it “robustly likeable” and Knight’s vocals “killer.” WhatsOnStage gave five stars, praising its “roof-raising energy,” though The Guardian’s Michael Billington found its score “serviceable” over standout. Knight and Donnelly later Cardle drew raves, with a cast recording hitting charts. Its two 2015 Oliviers Best Musical and Sound Design crowned a solid run, seen by over 300,000, but it shuttered early amid "Motown"’s arrival and uneven buzz. Critics lauded the dance Trujillo’s work shone and social bite, yet some felt it leaned too hard on nostalgia. Audiences danced in aisles, cementing its year-long West End pulse, though it couldn’t match "Phantom"’s longevity.

Legacy in West End Theatre

"Memphis"’ 407 performances and two Oliviers slot it below "Les Misérables"’ epic run but above many jukebox peers, its four Tonys and global reach Japan 2015, Australia 2017 bolstering its cred. Born from a George W. George concept, refined at La Jolla Playhouse (2008), it’s toured 55 North American cities and thrives in amateur stagings via Theatrical Rights Worldwide. Knight’s debut and Donnelly’s Olivier nod boosted their stars, while Bryan’s score endures covers by local acts keep it alive. A 2011 PBS filming of Broadway’s cast widened its lens, seen by millions. In West End lore, it’s a soulful spark less a titan than a vibrant echo of 1950s defiance, proving music can shift tides, if not always ticket sales.