Ben Smallwood, Robert Brandon, Corey McKinney, Gregory Holmes, Jr., Tristan Layne Tapscott, Bobby Becher, Brad Hauskins, and Kyle Wells in Heartbreak Hotel
Heartbreak Hotel, now playing at the Circa ’21 Dinner Playhouse, chronicles the rise of superstar Elvis Presley from his humble beginnings in Tupelo, Mississippi, to the height of his fame as an American icon. As you might expect, the musical features many of the King’s top hits, among them “Blue Suede Shoes,” “That’s All Right,” and, of course, the titular “Heartbreak Hotel.” The show's emotional core, though, lies in the touching moments from Elvis’ childhood. A young Elvis (played, in alternating performances, by Jax Huntley and Fulton Young) is a recurring presence on stage, guiding his adult self (Corey McKinney) and reminding the rock star of his roots and inspiration. All the expected characters make appearances: Elvis’ mother Gladys (Shelley Walljasper), his infamous manager Colonel Tom Parker (Tom Walljasper), Sun Studio producer Sam Phillips (Tristan Layne Tapscott), and Elvis’ beloved Priscilla (Rachel Winter). This rousing production was directed by Scott Moreau, with Ron May as music director, and we saw the preview performance on Thursday, March 13.
Kitty: I just need to say, right off the bat, that this musical’s title is really misleading. It gives the mistaken impression that the show is focused mostly on Elvis’ tragedies, rather than his triumphs. And even though Elvis’ story has its share of heartbreak, this production is definitely not a downer.
Mischa: That’s true. The writers really made sure to end the whole story on a high note with the '68 “comeback.” I mean, it does have a few heart-wrenching moments (especially the personal loss and funeral depicted at the end of Act I), but this is really a story of success, not sadness. McKinney inhabited the lead role very effectively throughout, but was especially convincing in portraying Elvis’ halting yet ever-more-confident steps developing his breakthrough sound and achieving popularity.
K: I agree! McKinney did a great job of showing the progression of Elvis’ style. And I was really glad to see that this musical paid special homage to the many influences that shaped that signature style – singers like Roy Brown (Gregory Holmes, Jr.), Sister Rosetta Tharpe (Dwan Hayes), and Jackie Brenston (Tarik Zeigler). We only got bit performances of their music, but I really enjoyed hearing the gospel and soul that shaped Elvis’ early career.
M: Let’s not forget the blues, too! We're given the chance to watch a young Elvis fall in love with those Black performers’ music and style – and then to see the music industry turn that to its own lucrative ends. I almost wish the whole show was just an expanded version of the first half.
K: That was a solid first half, for sure!
M: The second act was a little more disjointed.
K: It didn’t quite have the flow of the first, did it?
M: The script was maybe trying to tell too many stories too briefly.
K: Going back to that first act, though, I particularly liked Zeigler’s performance as a second character: Reverend Brewster. For me, this role was one of the show's most captivating, and Zeigler put his whole heart and soul into it. My grandma was a huge Elvis fan, but she always insisted that she “only listened to the hymns.” So on a personal note, it was kind of great to see a young Elvis being “filled with the spirit” as he danced on stage next to Reverend Brewster, surrounded by a passionate church choir.
M: I have to say that Jax Huntley, who played young Elvis the night we attended, delivered a great performance with his self-assured singing and acting, as well. There was a lot of talent on that stage! I’d also mention a very strong showing from Alondra Shuck, doing double duty as Elvis’ high school sweetheart Dixie and his silver-screen partner Ann-Margret.
K: Shuck had an impressive dance number when she first appeared as Ann-Margret. The ensemble, in general, got a workout in this show – choreographer Andrea Moore had everybody all shook up!
M: Among the standout technical aspects were Khalil Hacker’s many projections, which showed important elements of setting, such as the interior of Sun Studio, but also added depth and context with newsreels and TV clips. Designer Heather Hauskins' lighting was good overall, but there was an especially effective star-shaped focus on Elvis, repeated to help tie the end of the show back to the beginning. And the final sequence made the lighting a lead performer, with the lights on all the set’s steps and the name “ELVIS” illuminated in red. A big, impressive climax!
K: With a big Elvis medley to boot! If anyone in the audience was worried that their favorite Elvis song was overlooked, they probably got to hear it in the finale.
M: The finale also gave McKinney the opportunity to pull out all the stops in a final, black-leather-clad incarnation of the King. (In a great touch by costumer Bradley Robert Jensen, young Elvis also came out one more time, with a costume matching McKinney’s.) And McKinney does not disappoint! At the end, as at the beginning, his rendition of Elvis’ character and talents is entertaining and utterly convincing. Ultimately, the best reasons to see this show are the stellar performances that represent Elvis’ inspiration, and, in McKinney, the excellent embodiment of Elvis himself.
Heartbreak Hotel runs at the Circa '21 Dinner Playhouse (1828 Third Avenue, Rock Island IL) through May 3, and more information and tickets are available by calling (309)786-7733 extension 2 and visiting Circa21.com.
