Photo courtesy of J. Stubbs Photography (https://jstubbsphotographyvb.com/)

Sometimes the English language doesn’t quite have the right word to describe something.  For some, that might lead to a long paragraph to explain it.  Others might just stagnate and keep the thought to themselves.  The visionaries, however, don’t let a lack of creativity from prior generations get in the way – they just say what they feel.  Huey, the awkward-at-times, optimistic-always, music/entertainment innovator at the center of the plot of “Memphis”, currently showing at the Little Theatre of Norfolk, falls into the latter category.  When overcome with pure joy and giddiness, he exclaims “Hockadoo!” to the sky, providing the rallying cry to a city struggling with the very beginning of the Civil Rights Movement.

Alan Mathews takes on the role of Huey, a white man with a love for what at the time (the show takes place in the 50s) was considered black music – i.e., rock and roll/soul.  Mathews exudes the confidence of Huey, always completely assured in his worldview, leading to bold and brash decisions that make the character intentionally seem quite awkward and unorthodox in his rise to the top of the radio charts. 

While following his heart to the music that he loves, Huey also finds something (… someone) else he loves – the beautiful and talented (and black) singer Felicia, who regularly performs at her brother’s underground club.  Felicia, played by Chonise Thomas, is not as immediately smitten – but (light spoiler), comes around to Huey pretty quickly (Thomas’s voice also is a main draw for the show, with multiple impressive performances, capped off by her incredible belted performance of “Colored Woman” midway through the first act). 

Supporting the two leads is one of the strongest supporting and ensemble casts we have seen this year.  Felicia’s brother Delray, played by Rico Robinson, is not as easily won over by Huey.  He brings that “Robinson Charm”, as we’ve started calling it in our house, to the role – Robinson commands the stage when he is on it, and you totally understand why both Huey and Felicia feel the need to have his acceptance.  Delray, a bit more realistic about the prospects of a black woman dating a white man in 1950s Tennessee, is the other side of the coin to Alyssa Kay’s Gladys – Huey’s racist mother.  When Robinson and Kay meet and those two strong personalities collide, we get another of our favorite songs of the evening – “Change Don’t Come Easy” – and Kay’s voice really shines.  Elliot Pope Jr. as Gator is another stand-out, and when Bobby (played by Ja’Mel Dean at some performances and Keenan DeBurns at others) begins answering phones at the radio station, you’ll never feel quite as adequate in your ability to say (or sing) “no no no no no” again.

The strong cast top to bottom is a theme of Sharon Cook-directed shows.  Cook brings in such a vibrant group of people to fill out her ensembles, and then gives them each the freedom (and motivation) to be a complete character.  Every member of the ensemble feels like they are the protagonist of their own story, which is happening just off-stage.  And the extraordinary choreography from Jennifer Kelly-Cooper also brings those ensemble characters to life.  Kelly-Cooper, who was nominated for an HRACT Award last year for her choreography of “Escape to Margaritaville” (another Cook-directed show), faces the challenge of choreographing what had to be at least ten big ensemble numbers, and absolutely rises to the occasion.  She gets the cast to use the space to its fullest, use props as necessary (including a rousing tambourine sequence and the incorporation of a working television camera projected onto the wall of the theater), adds to the story through their movements and placement, and even choreographs a song which, in-universe, is only being performed over the radio.  Throw in some strong costuming (shout out to Chelsie Cartledge-Rose and Mickey VanderWerker), and the ensemble can be described as nothing less than a resounding success.

“Memphis”, at its heart, is a love story – both for the music coming out of Memphis in the 50s, and of romantic love between our leads.  Can this love survive diverging career paths, the external pressure of being a mixed-race couple in pre-Civil Rights America, and the protagonists’ own realistic vs. optimistic vs. naïve worldviews?  You’ll have to get to LTN in the next couple of weeks to find out.  And while you’re there, raise a “Hockadoo!” to the heavens – you’ll be in good company.