‘Elvis: A Musical Revolution’ at North Shore Music Theatre. Book by Sean Cercone and David Abbinanti. Based on a concept by Floyd Mutrux. Direction and Choreography by Kevin P. Hill. Co-Music Direction by Milton Granger and Robert L. Ruckinski. Scenic Design by Kyle Dixon. Costume Design by Travis M. Grant. Lighting Design by Jack Mehler. Sound Design by Alex Berg. Wig and Hair Design by Rachel Padula-Shufelt. At the North Shore Music Theatre through November 12.
By Shelley A. Sackett
Who can resist the charm, energy and smoldering heat of that hip-swinging, pelvis-grinding consummate crooner and actor known as Elvis? At Bill Hanney’s award-winning North Shore Music Theatre, fans and fans-to-be of the “King of Rock and Roll” can spend a toe-tapping two and one-half hours (one intermission) as over 40 of Elvis’ most famous songs are belted out by talented Dan Berry while a cast of 29 sings and dances their hearts out to a live orchestra of nine.
Throw in the theater-in-the-round setting with its intimacy and excitement, and you’ve got all the ingredients for an evening of sheer entertainment.
The bio-musical picks and chooses pivotal moments of the cultural icon’s life to explore through song, dance, and drama. (For those thinking of taking their children, be forewarned that Elvis and others have a bit of a potty mouth, and the f**k word is frequently bandied about). We learn about Elvis by eavesdropping on those who knew him best, like the kind and maternal record store owner Betty (a standout Altamiece Carolyn Cooper), who teaches 13-year-old Elvis (Asher Stern) about more than Black gospel music. Through her, he gets a hands-on lesson in what a color-blind world might look like and a taste of what it feels like to be taken seriously by an adult.
The loosely woven plot follows Elvis’ ascension from an impoverished but loving childhood in Tupelo, Mississippi to being discovered by recording studio owner Sam Phillips to his having his contract sold to the conniving, heartless Colonel Tom Parker, who treats Elvis like a prized cow to be milked dry and then sold to slaughter. (David Coffee is spot-on perfect as Parker, shedding an even more shameful light on the dreadful miscasting of Tom Hanks in the role in the 2002 movie biopic. Coffee’s Parker is a John Huston-like character, all imposing charm and smarm until he sinks his teeth into your jugular).
Although the song and dance numbers take up a lot of the evening, there is still enough time to weave a Cliff Notes version of the King’s life. We are a fly on the wall when Elvis is drafted and when he first meets Priscilla. We witness the rapid ups and downs of their courtship and marriage and his devastation at the death of his beloved mother. We watch as Elvis’ many appetites spiral out of control and are heartbroken as his career circles the drain with B- films like “Change of Habit.”
Writers Abbinati and Cercone may have sacrificed a smoothly scripted biographical timeline in favor of including a challenging number of musical and dance numbers, but they nonetheless managed to put enough dramatic meat on its bones to flesh out Elvis as a nuanced and complicated individual. That is no small feat.
Kudos to director and choreographer Kevin P. Hill for keeping the ball rolling with a lively pace and varied dance routines. This reviewer’s particular favorite was “You’re the Boss,” the red hot, sizzling Elvis/Ann-Margaret number pas de deux (Alaina Mills is riveting).
Although long and a bit repetitive, “Elvis” fits the bill if you’re looking for an evening of the kind of rocking entertainment NSMT is known for. For tickets and more info, visit: https://www.nsmt.org/
