Title: Million Dollar Quartet. Playwright: book by Colin Escott and Floyd Mutrux. At: Apollo Theatre, 2540 N. Lincoln Ave. Phone: 773-935-6100;$25-$77.50. Runs through: May 31
From the first chord struck, it was clear that this was something specialand not just because the Goodman doesn't rent out its Owen Auditorium to just any old road company, or that transfer-house owners were conferring in the lobby barely seconds after the final curtain. It wasn't the nostalgia factor, either, nor was it the score of blues-country songs today comprising standard repertoire in their respective genres.
First, the facts: In December 1956, Carl Perkinscomposer of "Blue Suede Shoes" and "Matchbox Blues"scheduled a recording session at Sun Studios, a tiny independent label operating out of a former auto repair shop in Memphis, Tenn., under the auspices of Sam Phillips. The sidemen included Jay Perkins on string bass, W.S. "Fluke" Holland on drums and a swaggering piano man from the Louisiana swamps named Jerry Lee Lewis. It being close to Christmas, one of Phillips' early headlinersElvis Presleystopped in for a howdy-doo on his way home to introduce his lady friend to Mom. Then Phillips phoned another of his clients, one living nearbyJohnny Cashand suggested that he sit in on the session. When they were all assembled, Sam made a few tapes.
What distinguishes this fictionalized docudrama from other anthology-based revues is the occasion replicated in Colin Escott and Floyd Mutrux's scenario: More than a half-century ago, none of these groundbreaking artists knew what lay ahead for themselves or the music widely vilified as "satanic," even as its popularity burgeoned. ( The play's text takes advantage of hindsight ironyas when Presley declares that he hates Las Vegas and will never play there. ) What invokes our sympathies beyond simple voyeurism, however, is the knowledge that each of these hungry young artists is poised on the brink of a career path that will change their fortunes forever.
It's hard work portraying icons, making for replacements in the ensemble currently playing at Lincoln Park's Apollo Theater where Million Dollar Quartet has run continuously for nearly four years. Gabe Bowling's Perkins is a little cleaner-cut than previous incarnations, and Lance Lipinsky's Lewis more physically subdued, but Sean Sullivan's Cash displays a commanding presence ( and astonishing vocal range ) , Brandon Bennett's Presley reflects the singer not yet enslaved to greedheads, and Heather Marie Marsden, in the easily dismissed role of kibitzing Dyanne, breaks with sex-kitten mannerisms to deliver a rafter-raising "Hear You Knocking." Who says a history lesson can't rock the room?