The story takes a back seat to some sensational rock ’n’ roll
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What’s it about?
On 4 December 1956, something rather extraordinary happened at Sun Records in Memphis. Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis, all found themselves in the studio at the same time — an impromptu gathering that became one of the most famous jam sessions in music history.
Million Dollar Quartet takes us back to that night, with Darren Day as Sun Records founder Sam Phillips guiding us through the story of the four musicians and the record label that helped launch their careers.
There is some drama woven through the evening — rivalries, contracts and the changing relationships between the artists and Phillips — but this is first and foremost about the music.
What I loved
The musicianship is outstanding. All four performers playing the legendary artists also play their characters’ respective instruments, supplemented by double bass and drums. The result is a wonderfully rich, authentic sound that makes the production feel as much like a live rock ’n’ roll gig as a musical.
Connor Payne captures Elvis Presley, Christopher Erasmus takes on Johnny Cash and Joey Bradick plays Carl Perkins, but for me the highlight of the evening is Joe Bence as Jerry Lee Lewis. My goodness, what he can do with a piano. The speed of Bence’s playing is remarkable — and apparently simply playing the keys with his hands isn't enough. Before long there is a foot involved, and eventually even his bottom gets a turn.
But Bence isn't simply a brilliant musician. He also captures the swagger, mischief and irrepressible energy of Jerry Lee Lewis, creating a character who seems incapable of sitting quietly at the piano when he could be attacking it instead.
The production wisely saves another gear for its final 10–15 minutes, when any pretence of theatrical restraint disappears and the show turns into an all-out concert. The audience are on their feet as these iconic songs provide a terrific ending to a great nights entertainment.
Libby Watson’s set puts Sun Records front and centre with most of the stage empty to be filled with musical instruments — piano, guitars, microphones, double bass and drums. Alex Musgrave’s lighting adds considerably to the atmosphere. Different areas of the studio are lit throughout different numbers which subtly changes the mood while allowing the same physical space to serve the entire evening.
Anything I’d change?
Darren Day narrates much of the story as Sam Phillips, frequently speaking directly to the audience. It gives the production a clear framework, but I actually found the piece more compelling when the narration stepped back and allowed the drama to unfold naturally between the characters.
This becomes particularly noticeable in the second act, when the story develops more emotional weight as the relationships between Phillips and his artists begin to change and some prepare to leave Sun Records. Suddenly there is more at stake, and the production lifts dramatically. I would have liked a little more of that throughout — trusting the characters and their interactions to tell the story rather than explaining quite so much of it to us.
Verdict
Million Dollar Quartet is ultimately a celebration of four extraordinary musicians at an extraordinary moment in music history.
The dramatic elements don't always land as strongly as the music, but when this company plays, the production absolutely comes alive. And by the time it reaches its joyous final concert, resistance is fairly futile — you simply want to get up and join in.
With exceptional live musicianship, a catalogue of iconic songs and a scene-stealing performance from Joe Bence as Jerry Lee Lewis, this is rock ’n’ roll theatre played with infectious energy.
And hearing those songs performed live, up close and by musicians this good? What a treat.
Who created it?
Million Dollar Quartet has a book by Colin Escott and Floyd Mutrux, with original concept and direction by Floyd Mutrux. This production is directed by Jonathan O’Boyle, with movement direction by Joanna Goodwin, set and costume design by Libby Watson, lighting design by Alex Musgrave, sound design by Nick Lodge and musical supervision by Lee Freeman.