Elvis: A Musical Revolution

Put another nickel in the jukebox and let’s groove to the cool - and hot - vibe of the mid 20^th Century, chicks and dudes.

It’s hard to believe that Elvis Presley was born nearly 90 years ago and most of the audience at this juke box musical only know of him through their parents or Youtube archives.

Nevertheless, Elvis was an icon who shaped the music world of yesteryear and this jukebox musical packs more of a punch than most.

Rob Mallett has the unenviable task of re-creating the legend. Once you get past the fact that he doesn’t look or sound much like Elvis, his dancing and acting chops leave you with little doubt that he is perfect for the role. No mere Elvis impersonator could do with what Mallett does, i.e.: get under the skin of the icon and discover the flawed man inside. There is a scene between him and Colonel Parker in the second act which is positively electrifying and makes one wish that the rest of the book (script) was up to the same standard. Mallett’s lack of charisma in the early stages of the show may have been nerves, or may have been deliberate characterization, but by the second act, and especially the last fifteen minutes, Mallett WAS Presley and held us in thrall.

He is ably escorted through the journey by simply marvelous performances from the highly experienced juvenile actor Sebastian Sero (who is surely a star in the making) as the young Elvis; and the always incredible Noni McCallum as Elvis’s mother, who owns the stage at every entrance and sings like an angel.

For most theatre-goers Ian Stenlake has been the epitome of panache and charm for many years, so one can only imagine how much he salivated at the chance to put on a bald pate and a fake belly and explore the manipulating and treacherous slob that was Colonel Parker. He is so impressive that one forgets his former persona completely.

These four excellent performers form the core of the musical – but it is almost stolen from them by the incredible Kirby Burgess, who brings restrained credibility as Marion, Sam Phillips’ assistant, and then breaks loose with a gob-smacking performance as Ann-Margret. It’s a vignette which allows this genuine triple threat to completely hold the audience in thrall.

Since most of the musical is set in the deep south, the element of colour and the music of the disenfranchised plays a huge part. The casting here is superb. The presence and voice of Charlie Williams as Reverend Brewster is of infinite value. The spiritual “This Train is Bound for Glory” is a highlight and the first truly high energy number of act one and props to all in the congregation for magnificent vocals, especially Jo-Anne Jackson and Joti Gore who also impress as Sister Rosetta and a variety of African American stars of the era.

Annie Chiswell is lovely as Priscilla but gives us no sense of how young she was when she met Elvis – the character does not evolve so the actress has nowhere to go. The rest of the cast does well to put meat on the bare bones of under-developed characters.

But the true stars of the show are the ensemble - all marvelous singers and dancers and a total delight whenever they took the stage. Every one of them is integral to the show has a whole.

Michael Ralph’s choreography as always is fresh and impressive and extraordinarily difficult in places. His work gets more impressive with every outing. And once again Musical Director Daniel Puckey brings us a band that really drives the show with its excellence.

David Venn has reached dizzy heights in little more than five years. His creed seems simple - First class entertainment on a secondary level (no huge ALW type spectacles) with a commitment to excellence within defined parameters, quality in all areas, and respect for the expectations of the audience. It is, after all, GP entertainment we’re talking about here…not Medea.

To do this he has assembled a brilliant creative team that works symbiotically to achieve a singular vision and always produce the best “bang for your buck” in terms of budget and ticket prices.

As well as the brilliant Ralph and Puckey, there is Declan O’Neill, whose very special lighting designs are a highlight of every Venn production. Isaac Lummis (costumes) and Trent Whitmore (wigs and makeup) work in tandem to perfect the “Look” and Dan Potra’s set is peripatetic, as are all his sets, and maximise stage space as well as creating atmosphere.

Last but not least, Alister Smith is a director committed to telling the story and connecting to the audience. He makes every Venn show greater than the sum of its parts.

Best of all - they are all Antipodean (Ralph is a Kiwi or I would say Australian). The only weakness is in the book - and what can I say? The writers are NOT antipodean.

Elvis: A Musical Revolution is NOT a great musical, it has flaws. But it is GREAT Australian entertainment for the audience that wants to enjoy a night out. The audience adored it, and that’s the litmus test, and yes – I DID get up and dance to “Jailhouse Rock”!

Elvis has NOT left the building, folks.

Coral Drouyn

Photographer: Nicole Cleary