Elvis: A Musical Revolution is an exciting spectacle from its outset as the audience is transitioned from its recreated iconic mononymic neon ’68 Comeback Special signage, through an electrifying ‘Burning Love’ dance number, to the Beal Street and Sun Record Studio days of Elvis’ early 1940s and ‘50s life. The award-winning exploration of pivotal moments in the life of the cultural icon Elvis Presley touches on key aspects of the rock ‘n’ roll superstar’s journey, however, (with book by Sean Cercone and David Abbinanti) not in chronological order and not without some sanitation in their selection (the bio-musical is authorised by Elvis Presley Enterprises).
Isaac Lummis’s costume design, meanwhile, is authentically Elvis, down the blue suede shoes detail of his outfit for the ‘Heartbreak Hotel’ appearance on the live Louisianna Hayride radio program on way to Ed Sullivan et al television appearances, as (waist up only) black and white images are projected on a backdrop of recreated of-era TV sets (set design by Dan Potra). The costumes are very functional too, with colourful swishy poodle skirts emphasising the boogie-woogie, sock-hop swings of the ensemble’s ‘50s dance moves. Exuberant high energy song and dance numbers feature throughout, elevated by Michael Ralph’s dazzling choreography. As Elvis, Rob Mallett gives us a catchy ‘That’s All Right’ as early highlight, while a smouldering Kirby Burgess captures the frenetic free-spirited ‘C’Mon Everybody’ epic energy of a “Viva Las Vegas” Anne-Margret.
Greg Ginger’s crisp sound design contributes much to the impressive aesthetic, while Declan O’Neil’s vivid lighting hypercolours large scale ensemble numbers in, for example, arc back to the Comeback Special’s strobe spectacular of ‘Trouble’, ‘Guitar Man’ and ‘A Little Less Conversation’. Lighting also serves an astute narrative purpose throughout, aiding the audience in its journey from the beigeness of Elvis’ humble Tupelo origins when gifted a life-changing guitar for his eleventh birthday, through to the psychedelic sixties backdrop to a Hollywood movie career ultimately of the “Change of Habit” and “Tickle Me” type, in formulaic far cry from his early Elvis and Blue Moon Boys days.
Slick as its production values might be, especially late in its smash-hit Australian tour, Elvis: A Musical Revolution is also quite clever in its craft together of songs from the extensive Elvis catalogue, in numbers not always led by Mallett. An ensemble medley of ‘Teddy Bear’ and ‘Return to Sender’, is, for example, an effective and cohesive inclusion to move things along in show of the extent of Elvis’ fast fame and immediate movie stardom in “Love Me Tender”.
Under Daniel Puckey’s musical direction, the band is precise and vibrant in its capture of the distinct musical flavours of the show’s songs, whether they be the gospel sounds of Act One’s cresendoing ‘This Train is Bound of Glory’ Reverend and congregation celebration or the familiar baseline melody of ‘Suspicious Minds’. In every instance they work together to infuse numbers with emotion and energy, upon which Mallett’s interpretation of Elvis’s distinct style can be built.
There are, similarly, no weak links in the ensemble of performers in the production’s all-star Australian cast. Sienna Embrey is absolutely endearing as Elvis’ early girlfriend Dixie, supportive as ever of her truck driving delivery boy’s talent and ambitions. And in addition to playing Sun Records founder Sam Phillips, Ben Hall, gives us an authentic Frank Sinatra in recapture of a shared iconic TV moment. Melbourne-based Luca Dahan is an appropriately attituded bundle of energy as young Elvis, also showcasing some impressive vibrato vocals in a Bluesy ‘Baby, What You Want Me to Do’ and, alongside Matt Heyward’s Vernon Presley, Noni McCallum uses her beautiful voice to add poignancy to her vocal contributions as his wholesome mother Gladys.
This is, however, Mallett’s show and his command of the stage is comprehensive. His stage presence is cemented by his easy snake-hips energy, moving much like the gyrating guitarist as he snaps his fingers, shakes his legs and swivels his hips through upbeat numbers. His vocals are excellent, especially when afforded the space to truly shine in a paired-back ‘Can’t Help Falling in Love’ devotion to a baby Lisa Marie. Mallet’s acting also serves Elvis’ emotional journey through the jubilant highs and angsty lows of his ascent to become ‘The King of Rock ‘n’ Roll’. And he easily handles the script’s humour, such as when, while on active service in Germany as Private Elvis, his character both serenades and attempts to teach young sweetheart Priscilla (Annie Chiswell) how to play ‘Are You Lonesome Tonight?’ on guitar.
While not necessarily revolutionary in its content, Elvis: A Musical Revolution still has much to offer thanks to the combined excellence of its cast and creatives alike, and it is easy to appreciate reasoning behind its already announced return Melbourne season. This is feel-good entertainment of the slickest sort, not just for Elvis fans, but all audiences who appreciate the easy appeal of rock ‘n’ roll classics.