Beverley Knight is sensational in this dynamic musical. She’s soulful, poised and often thrilling in an entirely recast version of a show that despite cartoonish elements proved a hit on Broadway and won four Tony awards.
It’s set in racially segregated Tennessee in the Fifties. African-American R&B music is captivating a new generation of young white fans and causing grave alarm to their more rigid parents. Knight plays Felicia Farrell, an emerging singer promoted by Killian Donnelly’s Huey Calhoun, a chancer who is determined to bring fresh sounds to local radio listeners.
Felicia’s relationship with Huey develops swiftly. Yet prejudice means she must choose between love and her career — and the performers’ natural likeability means we root for them.
The score is by Bon Jovi keyboard player David Bryan (who collaborated on the lyrics with Joe DiPietro). Some of the songs are unmemorable, but the blues, rock and gospel blend is packed with joy, and Christopher Ashley’s production has bounce and charm. Though the subject matter has the potential to be unsettling, there isn’t much political subtlety or historical depth here. This is a rousing spectacle where audiences will feast their eyes on the dancers and ears on the singing.
There’s sharp support from Rolan Bell as Felicia’s gruff brother Delray and Claire Machin as Huey’s amusingly grumpy mother. But it is the vocal gloriousness of Knight and charisma of Donnelly which make a show that’s not exactly innovative feel fabulous.
Until March 28 (020 7379 5399, memphisthemusical.com
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