Rock Legends Come Alive in Stages’ Rollicking ‘Million Dollar Quartet’

Rock Legends Come Alive in Stages’ Rollicking ‘Million Dollar Quartet’

By Lynn Venhaus

To see the transformative power of music first-hand, just be in an audience for Stages St. Louis’ production of “Million Dollar Quartet,” because you will watch as a crowd of adults become kids again.

On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at Sun Studios in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.

The man who gave them their start, Sam Phillips, deservedly known as “The Father of Rock ‘n Roll,” narrates this twist-of-fate tale, a true David vs. Goliath industry narrative featuring the star power of four future legends.

As impresario Phillips, Jeff Cummings is well-suited to play the country boy mogul with savvy instincts on hit-making, conveying equal parts passion and pride.

The cast’s remarkable full-throttle energy, showmanship, and musicality turned the Kirkwood Performing Arts Center’s Ross Family Theatre into a freewheeling and fun house party where the ready-to-rock crowd blissed out to the enduring rhythm of roots rock ‘n roll. The company, all seasoned professionals, many veterans of this show, looked like they were having so much fun performing together.

Perhaps I can speak for my fellow Boomers, as I felt we were transported back to sock hops, Teen Towns and listening to our transistor radios with earphones before bedtime. And couldn’t resist the urge to toe-tap and clap along, for the hits just kept on coming: “Hound Dog,” “Long Tall Sally,” “Great Balls of Fire,” “Who Do You Love,” “Sixteen Tons,” “Folsom Prison Blues,” and “I Walk the Line” among them.

Brady Wease as brash Jerry Lee Lewis. Photo by Phillip Hamer.

But it’s not merely a blast from the past — rather, a vivacious retelling of magical music moments in pop culture history. Music Director and Conductor David Sonneborn, who also plays the drums as session musician W.S. “Fluke” Holland, has splendidly brought out the best in everyone.

The joint was jumping, and it was a thrill to be a part of such a joyful celebration. There was a whole lotta shakin’ going on during the coda/extended curtain call, with the crowd on their feet for most of it — and singing along to “See You Later Alligator.”

Director Keith Andrews, who also choreographed Edward La Cardo as an unstoppable Elvis, marvelously captured the lightning-in-a-bottle aspect of four rock ‘n roll influencers for a perfect show, lovingly crafted and crisply performed by an ensemble who achieves synchronicity together but also stands out individually. It’s his sixth time directing this show, and his command of the material is evident.

This jukebox musical displays the heart, humor and overflowing talent of these scrappy guys who came from humble Southern beginnings, carved a place in history for themselves and put Sun Studios on the map.

Carl Perkins, who hadn’t been able to follow up “Blue Suede Shoes” with another hit, has a simmering resentment towards Elvis, for his performance on “The Ed Sullivan Show” and other grievances. He has a chip on his shoulder and a festering attitude, which Jeremy Sevelovitz carefully projects.

Jeremy Sevelovitz as Carl Perkins. Phillip Hamer Photography.

Carl’s brother, Jay, is one of the session musicians, and Chuck Zayas knows how to slap that bass, having been a founding cast member, and has been rockin’ out for more than 30 years in bands and on stage.

The story begins with the premise that rockabilly specialist Carl Perkins is there to record some new music with a brash piano player from Louisiana – Jerry Lee Lewis, whose swagger and desire to be the center of attention rubs him the wrong way. Brady Wease’s bravado blazes the stage as a boyish “The Killer” and his prowess pounding the keys is fun to watch.

With his deep voice and confident demeanor, Scott Moreau’s ease as Johnny Cash is noteworthy. He has played this role more than 1,000 times, and that experience shows. His way with the guitar, and impressive vocals are riveting. “Ghost Riders in the Sky” is one of the standouts, and his gospel influences are emphasized.

La Cardo embodies the young energetic Elvis, now a movie star too, who would prefer solid career advice rather than a chorus of ‘yes’ men. In this show, he brings a girlfriend along, and Shelby Ringdahl fits right in as Dyanne, belting out “I Hear You Knockin” and delivering a sultry “Fever.” At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer.

Besides the smokin’ hot beats, there is drama in between songs dealing with show biz and their personal relationships, just to create conflicts and tension.

The show’s original concept by Floyd Mutrix was solid gold, and it premiered in Florida in 2006.  A regional Chicago production was mounted in 2008, starting at the Goodman, then moving over to the Apollo, where it celebrated its 2,500th performance six years later. The show closed in 2016, ranking as the third-longest running show in Chicago theater history.

Scott Moreau as Johnny Cash. Phillip Hamer Photography.

Nominated for three Tony Awards — for Best Musical, Book by Colin Escott and Mutrux, and Best Performance by a Featured Actor, which was won by Levi Kreis as Jerry Lee Lewis, the show opened on Broadway in April 2010 and closed in June 2011, after having played 489 performances and 34 previews,

I first saw this on its national tour in 2013 at the Fox Theatre, and then The Rep staged a slick, exuberant production in 2017. While both were enjoyable and executed well, the Stages one seems the most spirited, with an extra oomph of pizzazz and far more nuance.

Not only is this ensemble aces, percolating on all cylinders, but the creative team has showcased its mastery – scenic designer Adam Koch for a vintage studio interior, costume designer Brad Musgrove – of course the quartet are in colorful sequined blazers for the grand finale!, the exceptional expertise of lighting designer Sean M. Savoie, and clear sound designed by Beef Gratz.

The vibrancy of the production is unforgettable, and you surely will sing a happy tune while leaving the building.

Jeff Cummings as Sam Phillips. Phillip Hamer Photography

“Stages St. Louis presents “Million Dollar Quartet” from Sept. 8 to Oct. 8 at the Kirkwood Performing Arts Center. For more information: stagesstlouis.org.

The iconic photo of Dec. 4, 1956. It hangs on the wall of Sun Records in Memphis (worth the tour!).

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

By Lynn Venhaus
With the nostalgic glow of scrapbook memories, the toe-tapping and hummable “Smokey Joe’s Café” opened The Muny’s eagerly anticipated 103rd season.

In this spirited localized production of the longest-running musical revue in Broadway history, the creative team imagined a soulful stroll down memory lane, intersecting a generation’s familiar soundtrack with Gaslight Square, one of the city’s most iconic neighborhoods.

And just like that, the U.S.’s oldest and largest outdoor theater demonstrated why it’s an essential part of St. Louis summers.

It had been over 700 days since we were last gathered under the stars in Forest Park – at “Matilda,” to be exact, which ran Aug. 5-11, 2019.

Nobody does what the Muny does, and did we miss it! On Monday, warm-and-fuzzy feelings energized the crowd of 5,956, who collectively exhaled and shared a glorious moment, sprinkled with pixie dust, during a pleasant July evening.

“You’re here. You made it through!” exclaimed Mike Isaacson, executive producer and artistic director, with palpable joy.

One glance at that expansive stage and we were home.

Photo by Phillip Hamer

The impressive scenic design by Edward E. Haynes Jr., who was responsible for the bright and playful fantasy world of “The Wiz” in 2019, included realistic facades of Crystal Palace, Jack Carl’s 2¢ Plain (a New York-style deli), Annadel’s Olde-Fashioned Ice Cream Parlor, Smokey Joe’s Grecian Terrace and a Sinclair service station built into the streetscape.

That bygone-era theme continued in Kevan Loney’s video design and Rob Denton’s lighting design, which bathed the nightclub scenes in neon and stardust.

In its heyday, Gaslight Square was the entertainment district in St. Louis – located between Olive and Boyle in the eastern portion of the Central West End. Attracting bohemians, hipsters and the well-heeled, it was known for comedy, dining and dancing. Such rising stars as Barbra Streisand, Lenny Bruce, Woody Allen and The Smothers Brothers appeared in venues there. By the late ‘60s, urban decay took over and people were flocking to the suburbs.

Astute observers will be able to pick out “Easter eggs,” those clever nuggets from the past that mean something to fans — and a major find is shopping bags with the Stix, Baer and Fuller logo. There’s a Sealtest Dairy ad on a back cover – and more blasts from the past.

Never underestimate the emotional connection shared by a live audience, listening to a talented mix of performers sing their hearts out.

As we are all aware of how a global coronavirus pandemic disrupted our lives during the past 16 months, The Muny had been forced to cancel its 102nd season in 2020 – for the first-time ever – and moved five shows to this year, which received the green light when it was deemed safe to do so. Isaacson noted that the performers hadn’t been able to “do what they do” either.

Enter an eclectic cast of nine (five guys, four women), who could be classified as “acting singers” – and their strong interpretations created easily identifiable vignettes during musical numbers. All but three were making their Muny debut.

Photo by Phillip Hamer

Robust ovations began early, even before they harmonized in the first number “Neighborhood,” and continued through the enduring catalogue of prolific lyricist Jerry Leiber and composer Mike Stoller, for a total of 39 songs, mostly hits from the 1950s and 1960s.

Mutual fans of rhythm-and-blues, Leiber and Stoller collaborated on a pop-rock sound known as “crossover” music back in the day. Their catchy melodies and tender ballads are thread together without a storyline or a chronological order.

From the dance party that is “Baby, that is Rock and Roll” to the classic Drifters’ chart-climber “On Broadway,” the songs vary in mood and tempo.

For the most part, they reflect a more innocent time, especially the amusing novelty songs heard on transistor radios — golden oldies “Charlie Brown,” “Yakety Yak,” “Poison Ivy” and “Love Potion No. 9.”

The assembled artists are a balanced group of pros with Broadway and national tour credits. By the time they united for a moving finale of “Stand by Me,” each performer had a knockout rendition.

First-timer Charl Brown. who was nominated for a Tony for his portrayal of Smokey Robinson in “Motown: The Musical,” showcased his smooth style and wide register with “There Goes My Baby” and “Young Blood.”

Immediately, the audience reacted to Christopher Sam’s rich, deep baritone, and his silky delivery wowed on “Spanish Harlem,” “Loving You” and “Dance with Me.” It’s easy to picture him as Mufasa in “The Lion King” on Broadway.

Photo by Phillip Hamer

Belter Tiffany Mann was sensational with “Fools Fall in Love” and “Hound Dog,” soaring with the gospel tinged “Saved,” which closed the first act with a flourish. Mann, quickly a favorite, was in “Be More Chill” and “Waitress” on Broadway.

The charismatic Mykal Kilgore brought the house down with a passionate “I (Who Have Nothing).” He was Annas in the Muny’s 2018 “Jesus Christ Superstar” and part of the NBC live television concert version earlier that Easter, and also in the network’s live “The Wiz.”  

Excellent dancers Hayley Podschun and Michael Campayno stood out with “Teach Me How to Shimmy.” Podschun, the dance captain, starred as Dainty June in the Muny’s 2018 “Gypsy,” and touched with her sweet solo “Falling.”

Campayno, who played opposite Tony winner Stephanie J. Block in “The Cher Show,” channeled his inner Elvis Presley to lead a peppy “Jailhouse Rock,” and charmed with “Ruby Baby.”

Podschun teamed with Nasia Thomas on a sassy “Trouble.” Thomas, who was in the 2015 “Hairspray” Muny ensemble and played Little Eva in “Beautiful: The Carole King Musical” on Broadway, sang “Don Juan” solo.

In a take-note debut, Dee Roscioli, a long-running Elphaba in “Wicked,” showed versatility in “I Keep Forgettin’” and “Pearl’s a Singer.”. The females all have frisky fun in “I’m a Woman.”

A Smokey Joe’s veteran, expressive Jason Veasey paired with Thomas on “You’re the Boss,” and lead the men in the burlesque homage, “Little Egypt.”

Mykal Gilmore sings “I (Who Have Nothing)” — Photo by Phillip Hamer



Many of the lyrics, being from a different time decades ago, feature sexual innuendo and set society roles. That means it is preferable for more mature audiences, not the wee ones.

Music Director Abdul Hamid Royal, a Tony Award nominee and NAACP Image Award winner for “Five Guys Named Moe,” nimbly conducted the skilled musicians placed on stage, initially behind a storefront and then in plain view during the second act.

Choreographer Josh Walden designed the movements based on original choreography by director Marcia Milgrom Dodge, with whom he has worked before. He wove in the buoyant Muny Teen youth ensemble with aplomb.

Dodge, a frequent Muny collaborator, had helmed “Smokey Joe’s Café” in Chicago, winning a Jefferson Award. Her vision here added oomph to the characters’ stories, and the ensemble seamlessly slipped into specific archetypes.

Costume designer Sully Ratke created characters’ backstories with a keen eye for vintage wardrobes, and the retro apparel captured their personas, especially snazzy hats. Their looks were accented with spot-on wig design by Kelley Jordan.

The sound design by John Shivers and David Patridge was crisp and did not have any noticeable issues.

At an estimated run time of two hours, 11 minutes, the Tony-nominated musical from 1995 zipped along in swift fashion.

Those who like a beefier story with their musical interludes will not be satisfied by the structure, but if you expect a concert-type experience, then you know what is in store.

What is surprising is how the elements all came together to elevate a conventional revue into a more layered theatrical experience. By expanding on what’s considered routine entertainment, the show — directed and performed with verve — is a cut above the ordinary.

Projecting genuine affection for the material and each other, this cheerful cast and splendid creative team achieved its shining moment. And voila! A community was reborn and welcomed back.

I will never take this tradition for granted ever again.

A Muny premiere, “Smokey Joe’s Café” opened July 26 and runs through Sunday, Aug. 1 at 8:15 p.m. on the outdoor stage in Forest Park. Emerson is the 2021 season sponsor.

For more information, visit www.muny.org. For tickets, visit muny.org or call (314) 361-1900 ext. 1550.

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Jack Carl’s vintage postcard of Gaslight Square.

Muny Photos by Phillip Hamer.