The Rep, Stages Brightly Gift Wrap a Spirited ‘Million Dollar Quartet Christmas’

The Rep, Stages Brightly Gift Wrap a Spirited ‘Million Dollar Quartet Christmas’

By Lynn Venhaus

Without skipping a beat, four iconic music legends continue a sentimental reunion in the cheery holiday show “Million Dollar Quartet Christmas,” which has been gift-wrapped with star power and delightful musicality.

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

That twist of fate was captured in an enchanting jukebox musical “Million Dollar Quartet” that highlighted the enduring rhythm of roots rock. It was first produced in Florida in 2006, then Chicago in 2008, and eventually on Broadway in 2010, and the nostalgic charmer was nominated for three Tony Awards

This 2021 sequel version is a festive and fun presentation that builds on the original premise, which were both smash hits at The Repertory Theatre of St. Louis in 2017 and at Stages St. Louis in 2023.

In a savvy move, the two companies have collaborated to bring this crowd-pleasing show to life with many of the same artists involved in the Stages production but presented on The Rep’s mainstage. This is the first partnership, but hopefully not the last.

Brady Wease and Jeff Cummings as Jerry Lee Lewis and Sam Phillips. Photo by Jon Gitchoff.

The memorable trio of Scott Moreau duplicating Johnny Cash’s deep bass-baritone, Jeremy Sevelovitz as fast-playing honky-tonk specialist Carl Perkins and Brady Wease as sparkplug Jerry Lee Lewis easily blend with suave newcomer Sean Buckley, whose graceful moves capture Elvis Presley’s vitality.

What a jolly time it is to see this cast perform together. Crackling with electricity, these other fabulous, fantastic four guys create a warmth onstage, even if they needle each other.

Their energy is limitless, and their showmanship stellar. While it is a blissful blast from the past, it’s not just the Christmas songbook’s greatest hits. They dip into their rockabilly classics – those fusions of country and rhythm and blues they became known for – but present fresh takes on  holiday classics like “Jingle Bell Rock,” “I’ll Be Home for Christmas,” and “God Rest Ye Merry Gentlemen.”

Everyone expects “Blue Christmas,” of course, and Buckley delivers a dandy one. Upbeat highlights include Chuck Berry’s “Run Rudolph Run,” the Bing Crosby cover “Mele Kalikimaka” and “Boogie Woogie Santa Claus.”

The statuesque Shelby Ringdahl is back as Elvis’ girlfriend Dyanne, and so is Jeff Cummings as impresario Sam Phillips. The dynamic duo of music director Dave Sonneborn as W.S. “Fluke” Holland on drums and Chuck Zayas as Jay Perkins on bass, one of the original cast members, have returned.

Scott Moreau as Johnny Cash. Photo by Jon Gitchoff.

It’s obvious this entire group of seasoned professionals are a tight team that enjoys spending time together – and wow, can they rock around the Christmas tree. With their slick musicianship, there is a whole lotta shakin’ going on.

Colin Escott’s script, while formulaic, focuses on the heart and the humor, and because the group feels so familiar with each other, they smooth over the rough edges.

As the guys reminisce about their humble beginnings, they tell Christmas tales tied to their Southern roots. They admit struggling to fit into a cutthroat show business when people don’t understand their blue-collar cultural upbringing.

The men are at a crossroads, some having tasted more success than the others. They got their start through Phillips, aka “The Father of Rock ‘n Roll,” whose personal feelings are hurt because of the professional transactions. He’s too much of a country boy to be considered a main player by the big-city record companies.

After putting Sun Records on the map, Elvis received a huge record contract with RCA Records, while Johnny and Carl recently moved on to Columbia. The brash Jerry Lee is pegged as Phillips’ next big thing.

As played by the high-spirited Wease, swaggering Lewis is full of braggadocio, easily getting on everyone’s nerves. Yet, his pounding of the piano keys is always a high point.

Jeremy Sevelovitz as Carl Perkins. Photo by Jon Gitchoff.

There is a wistfulness that you sense among the three older ones. Elvis expresses a homesick blues, though, while Cash and Perkins are making wishful new plans. That adds a relatable poignancy as people tend to reflect on the year past at holiday time and look ahead to a more promising future.

Dyanne’s role is stronger this go-round, and Ringdahl dances merrily while joining the guys. At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer. Ringdahl delivers a playful “Santa Baby.”

Director Keith Andrews focuses on the opportunity for magical moments – because it is the most wonderful time of the year. He has previously directed the original six times, so he is quite familiar with this material.

The precise craftsmanship of scenic designer Adam Koch is noteworthy for decking the halls with bright lights, mistletoe, tinsel and a tree, all bathed in a beautiful glow by lighting designer Sean M. Savoie. And sound designer Beef Gratz’ work is crisp and clear.

Costume designer Brad Musgrove has outfitted everyone in 1950s winter garb, plus woven in sequins for another killer grand finale. He selected a knockout red cocktail dress for Dyanne, while wig designer Dennis Milam Bensie coiffed her chicly.

Shelby Ringdahl and Chuck Zayas as Jay Perkins. Photo by Jon Gitchoff.

A special shout-out to those who dressed the theater in style, transforming the lobby and outside into a breathtaking winter wonderland.

The stars shined brightly, and the cast’s harmony embossed this celebration of comfort and joy with wonderful verve. “Million Dollar Quartet” is a two-hour sentimental journey that sparks warm memories, reaffirms music’s deep connection in our lives, and allows our hearts to be light.

In partnership with Stages St. Louis, the Repertory Theatre of St. Louis presents the musical “Million Dollar Quartet Christmas” Dec. 4 – 22. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

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!).

Uproarious ‘Clue’ Is Winning Comedy Caper at Stages St. Louis

Uproarious ‘Clue’ Is Winning Comedy Caper at Stages St. Louis

By Lynn Venhaus

Noteworthy for its fleet-footed cast and flawless execution, the rip-roaring romp “Clue” is a winning combination at Stages St. Louis.

In its first non-musical presentation since 1989, the company strikes comedic gold with a farcical whip-smart whodunit patterned after the classic murder mystery board game and based on the 1985 movie that has blackmail on the menu. I haven’t laughed this hard at live theater in a long time.

Is Professor Plum the guilty one with the candlestick in the Library or Miss Scarlet with the rope in the Ballroom? We will find out what really happened in this briskly paced 90-minute escapade that connects the charades, deceptions, and secret passageways during an unusual dinner party.

The hilarious hijinks kick off on a dark and stormy night in 1954, in a well-appointed Boddy Manor, located in a remote area of New England.

As the oddball characters cavort through the mansion’s rooms and corridors, this exceptional quick-witted ensemble shows why each performer is at the top of their game, deftly demonstrating skills in slapstick and impeccable comic timing. Together, they are a finely tuned troupe, zany like the original Monty Python’s Flying Circus in movement and delivery. Let the silly walks begin!

Photo by Phillip Hamer.

The six suspects are named according to the familiar game designed by Anthony E. Pratt and first manufactured by Waddington’s in England in 1949. Updated over the years, the current American edition, labeled “classic detective game,” is published by Hasbro, which bought the franchise from Parker Brothers in 1992.

The players’ task is to determine who murdered the game’s victim, in what room the crime took place, and which weapon was used, with cards and miniature props divvied up. Each player, representing a token color, takes on the role of either Colonel Mustard, Mr. Green, Mrs. Peacock, Professor Plum, Miss Scarlett, or Mrs. White, rolls the dice to move around the nine rooms, and collects clues to deduce the correct answer (which are secretly placed in a special solution envelope).

This stage play version, first performed in 2019, was written by Sandy Rustin, whose “The Cottage” opened on Broadway this summer. She adapted the screenplay by Jonathan Lynn (“My Cousin Vinny”), who also directed the movie.

The 1985 film, with Tim Curry playing the butler, was marketed with the gimmick of three different endings, and this version seems to jumble the endings’ best parts – wisely keeping the robustly delivered last line. New material was added by Hunter Foster and Eric Price.

As part of the merry menagerie, Mr. Boddy is the host who has been blackmailing the other dinner guests for years. Jeff Cummings is appropriately condescending and threatening, handing out gift-wrapped weapons to each, spelling out the dangers ahead. When he winds up dead, they become suspects. Their color-coded names are aliases, assigned to prevent real identities being exposed. It doesn’t appear that they are that innocent, and the plot thickens (insert menacing laugh here).

Whodunit? Photo by Phillip Hamer

In a virtuoso performance, Mark Price tickles the funny bone as the butler Wadsworth, a master manipulator who seems to be putting the puzzle together, but whose antics question everything we’ve seen and heard. With his rapid back-and-forth delivery and devil-may-care spirit dialed to 11, he is physically reminiscent of a younger Robin Williams in “Mork and Mindy.” He nimbly seizes control of every scene in the second act, earning breakout applause, and has the audience howling with laughter.

A Broadway veteran, Price is reprising his role from the Paper Mill Playhouse in New Jersey production in January 2022, postponed from a planned bow in ’20, delayed by the pandemic. The original direction by Casey Hushion is noted in the program, and this production is directed with tremendous zeal by Steve Bebout.

Bebout highlights each character’s eccentricities and keeps us guessing as to whodunit. The story structure isn’t as dependent on the characters as it is on the performances, and this cast is a marvel of perpetual motion and goofy quirks to keep us interested.

Could it be the self-important Mrs. Peacock, married to a U.S. senator accused of taking bribes? Flamboyant in blue, Zoe Vonder Haar struts around in fine fashion, exaggerating slurping soup and putting on airs.

Or is it the vampy Miss Scarlett, a smooth operator who runs an underground brothel in Washington D.C.? Diana DeGarmo, who has already impressed at Stages in “Always… Patsy Cline” and “Aida,” continues her hot streak, sashaying in a satiny red gown, sultry attitude to match.

Or the third suspicious woman, Tari Kelly as dramatic Mrs. White, who claims she is innocent in the death of her nuclear physicist husband. However, this international woman of mystery is hiding other secrets and motives, giving off a black widow vibe.

The men project peculiarities and appear not to be very smart, even Professor Plum, whose fall from grace includes a patient’s death. Looking all stuffed-shirt with purple bowtie, Graham Stevens is the annoying agitator.

Colonel Mustard, David Hess, on right. Photo by Phillip Hamer.

As Colonel Mustard, in his medal-detailed military jacket, David Hess seems clueless and not in sync with anyone else, evoking laughs through his obvious befuddlement.
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Mr. Green, who seems rather strait-laced and buttoned-up, has a terrific reveal sequence that is not worth spoiling, for Charlie Franklin brings the house down as this clever chameleon.

The help is mischievous and mystifying, with Lari White sassy and sexy in a skimpy French maid outfit, affecting a spot-on accent, too, and Leah Berry funny as the demanding, no-nonsense cook who doesn’t suffer fools and knows knife skills.

Cameron Jamarr Davis conveys authority and reliability as “The Cop” among other roles, and Cummings re-appears in minor parts as well.

As outstanding as the cast is, the production’s artisans have matched their vigor. Lee Savage’s production design creates rooms Agatha Christie and Sherlock Holmes would have been comfortable in, while lighting designer Sean M. Savoie’s expert shades of illumination provide key shadows and moods. Costume designer Brad Musgrove has captured each character’s personality through a color palette that defines their attire and accessories. Sound designer Beef Gratz’s superb atmospheric contributions make sounds ranging from thunderstorms to creaking doors an integral part of the story.

The zest evident in presentation is this show’s most attractive quality, the sheer thrill of watching a high-wire act without a net. Stages St. Louis leaves us smiling on a summer night, and I’m still chuckling reminiscing about what I saw.

“Clue” at Stages St. Louis. Photo by Phillip Hamer.

Stages St. Louis presents “Clue” from July 21 (previews) through Aug. 20 in the Ross Family Theatre at the Kirkwood Performing Arts Center, 210 E. Monroe St., in Kirkwood, Mo. For more information, visit: https://stagesstlouis.org.

Photo by Phillip Hamer.

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