Displaying items by tag: Elvis Presley

As twinkling Christmas lights return to Michigan Avenue and holiday themed bars pop up in trendy neighborhoods, Chicagoans are kicking off their pre-winter days by flocking indoors. Fortunately for us, Chicago theatre continues to deliver an exceptional lineup of classic holiday favorites and new ingenues hoping to become a staple in the cold winter months. One such production is “Christmas With Elvis” by Terry Spencer Hesser, directed by Dexter Bullard playing at the charming Chopin Theatre.

“Christmas With Elvis” tells the story of a lonely, anxious and slightly angry woman who discovers, on Christmas Eve, that her ex-husband is getting remarried. Before she can indulge in her misery, the very dead and not too debauched ghost of Elvis Presley appears in her apartment. The two-person cast features Brenda Barrie (Trudy) and Victor Holstein (Elvis).

The premise of “Christmas With Elvis” is captivating; a lonely woman with a bevy of mental and physical health issues puts on an old vinyl record, Elvis crooning “Are you Lonesome Tonight.” Answering the vinyl record, she soon gets to answer Elvis, the King, in person as he appears in her Chicago apartment. After getting past the initial shock, both characters begin to share their feelings as they unpack what brought them to that moment on Christmas Eve. As wonderful as the premise it was, the play itself had some consistency issues with the character development. Trudy is plagued with a bevy of health issues from anxiety to alcoholism to an eating disorder. With so many issues, it struck me as odd that when Elvis questioned Trudy about what an eating disorder was, she replied crudely with “it’s a diet that works.” It wasn’t the fault of the actor, it was just dialogue that didn’t quite fit. In the same first act, Elvis chastises Trudy by telling her he didn’t drink as much in life as she claimed, only to turn around and order an entire case of Jack Daniels to be delivered along with eleven dominos pizzas for them to eat. Little lines and moments like this pull you out of the magical moment, quaking your eye at the oddity of the dialogue. The starkest example of this was at the end of the first act, Trudy admitting to Elvis she wasn’t a huge fan of his music, even when he was alive, as Elvis flips down her couch into a bed. The scene moves rapidly to Elvis crooning out some of his biggest hits to Trudy, while Trudy writhe like a sixties Elvis fan, driving herself to orgasm as the doorbell rings with their delivery.

There were some incredibly tender and raw moments of dialogue between Trudy and Elvis, Barrie and Holstein had a real chemistry that was palpable throughout the two actor’s time on stage. Holstein had incredible vocals and truly captured the King’s mannerisms and cadence, even if it were a bit stereotypical. From the moment Barrie walked onto the stage she commanded your attention, able to portray a woman alone in her apartment, admittedly not in her finest moments or appearance. She played a lonely and broken woman, finding solace with an icon and the simplest of Christmas lights. The characters Hesser created could have really driven deep into the parallels the characters had, gone deeper into the concept of loneliness. It was noted in the playbill that someone “did not understand Elvis until they got divorced,” indicating it took a certain mindset and mood to really understand the sadness, love, and loneliness captured in Elvis’ music. While that was the prevailing theme of the play, some of the attempts at sarcasm and levity fell flat or fell back on commonplace language and stereotypes, when the material and premise offered and promised more.

Overall, Barrie and Holstein were an incredible duo to watch. Holstein’s renditions of "Love Me Tender", "Don't", and “Blue Christmas” felt like you were listening to Elvis incarnate, and Barrie is a Chicago talent that will have a long and prosperous career ahead of her. For a magical night out, “Christmas with Elvis” is a dramedy with a lot of potential, promising to, at least for the evening, stay off the blues during this Christmas season.

“Christmas With Elvis” is now playing at the Chopin Theater, 1543 W. Division, Chicago through January 7. For tickets, visit www.Chopintheatre.com.

I must admit, I knew nothing about Marie Knight or Rosetta Tharpe. It went over my head when they made an appearance in the critically acclaimed movie “Elvis”. Baz Luhrmann’s inclusion of Rosetta Tharpe and Marie Knight during the Club Handy scene with the likes of Elvis, BB King and Little Richard spoke volumes of her place in music history. Not only was Rosetta Tharpe a major influence on Elvis Presley, Jimmy Hendrix and Johnny Cash but the gospel guitarist practically discovered Little Richard, bringing him on stage for his first performance. “Marie and Rosetta” documents their lives together with a rousing, heartfelt production at Northlight Theatre.

It is 1946, Rosetta Tharpe is an explosive gospel singer and R&B performer,. After hearing Marie Knight sing, she tries to get the ingénue to create an act with her. “Sister” Rosetta needs Marie’s holier than thou credentials to “get back in the church folks’ good graces”. Her brand of gospel is infused with R&B and electric guitar riffs. She is a popular nightclub act and just as righteous as Mahalia Jackson, she just likes R&B. Marie Knight, on the other hand, is a traditional gospel singer with a powerful angelic voice. She is in awe of the older, popular Tharpe, but is unsure of the worldly music Tharpe calls gospel. This is their first rehearsal on the day of their first performance so naturally things must be sorted out before a duet can be made.

Playwright George Brant has done his research for this play with music, yet he hasn’t created a jukebox musical. There is a clear story being told here and the music is a bonus. Although, the play is heavy on exposition, it tells the beautiful relationship between these women and their influence on the music world. It is thought Marie and Rosetta’s relationship extended beyond the stage. Brant doesn’t straightwash this story. He has handled their relationship with the utmost respect. Brant does an interesting writing trick. It would be unfair to reveal it, but it has been on my mind since I saw the show. Brant has used spiritual songs like “This Train” and “Didn’t Rain”, as well as worldly songs like “I Want A Tall Skinny Papa” and “4 - 5 Times” to keep things hot.

E. Faye Butler is making a name for herself as a director. She is fresh off “Five Guys Named Mo”, a co-direction assignment with Felicia Fields at The Beverley Arts Center. It was excellent. Here, Butler is challenged with giving these characters emotional depth equal to their amazing voices. Challenge met. Butler has raised the stakes between these two women without losing the love and respect they had for each other. Their movements were instinctual, their emotions palpable.

This play is heavily dependent on excellent actresses. Not only must they sing well but they must be able to portray characters long gone from the collective psyche. Making these characters real was no easy task. Alexis J. Roston and Bethany Thomas by themselves knock your socks off, together they are a force of nature. They both engage us with their very different singing styles. Roston blesses the heavens with her symphonically precise tones. Thomas is like a hurricane, belting out the blues in all it’s various hues. They are accompanied offstage by Morgan E. Stevenson on piano and Larry Brown on guitar.

John Culbert’s scenic design coupled with the lighting design by Jared Gooding will be the subject of conversation for a while. McKinley Johnson’s costume design played a significant role. It’s always wonderful when set, lights and costumes enhance the characters presence and add depth to the overall production. Florence Walker-Harris is a joy, and her assistant director credit makes a wonderful show even more wonderful.

This play is highly recommended. Thank you Northlight Theatre for remembering these forgotten icons. You will leave the theatre joyful, filled with the knowledge of a rock and roll icons making a joyful noise to the Lord.

HIGHLY RECOMMENDED

When: Through August 6, 2023

Where: Northlight Theatre, 9501 Skokie Blvd.

Running time: 90 minutes

Tickets: $30. - $89 Student tickets $15.

Contact: northlight.org.

*Extended through August 13th

I've seen a lot of Elvis Tribute Artist shows over the years and have enjoyed them all. They’re nostalgic and fun and, while some are better than others, they are always a good time. And I really love the fact that there always seems something unique in each artist that makes them special in their own way. Brandon Bennett (of Chicago's MILLION DOLLAR QUARTET) is no exception when he wowed audiences for two nights at Marriott Theatre in Lincolnshire in ‘Elvis My Way’ where the headliner performed sweet, charming and soulful versions of Elvis's classic hits in chronological order. Bennett was accompanied by two excellent backing singers and a terrific four-piece band. 

From “Blue Suede Shoes,” “Can’t Help Falling in Love,” "That's Alright Mama," and 
“Suspicious Minds”, the talented Elvis Tribute Artist (ETA) performed many fan favorites and a few that were a bit more personal to Bennet himself.

Every artist has their own take on Elvis and often chooses one of the Elvis age ranges to play based on their own looks and age, but this was the first time I really felt the sweetness and calm comforting side of Elvis performed for an entire show. Bennet connected with the audience and often told interesting stories between songs – a few I’ve never heard, like the fact “Kentucky Rain” almost became an Eddie Rabbit (author) song instead of the well-known Presley anthem we’ve all come to love.

Bennett, who has made featured television appearances on The Late Show with David Letterman, NBC Nightly News, and was named "Ultimate Elvis tribute Artist by Elvis Presley Enterprises at Graceland,” mentioned that he had personally suffered through the death of a child and made the audience feel they were really sitting in on a private, intimate performance with The King. The song he sang to his late son to get him to fall asleep was none other than “I Can’t Help Falling in Love (with You)”. His performance of that number was extremely heartfelt, and it while it was hard not to feel what he must have gone through, we also got a glimpse of how the music of Elvis has touched so many.    

Brandon apologized on a couple of occasion for unforeseen vocal issues, but I thought he sounded amazing regardless and would not have guessed his voice was not up to Bennet’s usual standards. In all, Bennet puts on one hell of a show that we can take home with us in our memories for some time.   

With the new Elvis biopic stirring up new interest in Elvis's genius for a whole new generation, this is a great time for Brandon Bennett to be in the prime of his life with a wonderful, funny, heartfelt show that I highly recommend for all ages. 

You can learn more about Brandon Bennet in "Elvis My Way' here. 

One could only picture what would have happened should four of the greatest rock and roll pioneers ever step foot in the same studio at the same time. And just imagine if the above referenced were Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. Well, one winter afternoon in December of 1956, that’s exactly what occurred when these four music trendsetters met unexpectedly at Sun Records in Memphis, Tennessee. Though no one outside of Jerry Lee Lewis himself (only living participant) really knows all the details of what happened during that meeting, most are quite certain a jam session like no other took place, later earning the four the nickname “The Million Dollar Quartet”.

Currently playing at Theater at the Center in Munster, Indiana, ‘Million Dollar Quartet’ brilliantly takes its audience into Memphis’ Sun Records studio where it combines theatre with a truly entertaining rock and roll show. Filled with jaw-dropping singing and instrumental feats, ‘Million Dollar Quartet’ beautifully conveys the excitement of mid-1950’s rock music while at the same time providing audience members with a good feel for the time period itself. It is no wonder this show is already a timeless classic.

Finely directed by Daryl Brooks, ‘Million Dollar Quartet’ does not require elaborate set changes, taking place entirely in a recording studio (Sun) converted from an auto parts store. The show makes its mark as one of the hottest shows on stage thanks to its amazing musical performances, well-defined characters and a storyline that perfectly delivers the enthralling supposition of “What could have been?” The story also points to the importance of Sun Records and their impact on the music world, mainly owner Sam Phillips (superbly played by Sean Fortunato) and his ability to recognize and shape the talent of each recording artist, by having them reach inside themselves. The man was simply a musical genius. But Sun Studios is a small, two-man operation and it is inevitable that each of these great artists will one day outgrow Mr. Phillips distribution and marketing ability and look to hop on larger, well-established labels.

What contributes greatly in making ‘Million Dollar Quartet’ so special is the incredible cast they managed to assemble. Not only does Theater at the Center’s cast deliver the personality traits and behaviors of each, from Jerry Lee Lewis’ dancing eyebrows to Elvis’ sneers and unique body language from the waist down, but it is each actor’s ability to convincingly sing and play as their character that takes this show to a much higher altitude.

At times, Michael Kurowski literally makes the audience forget they are not watching the real Jerry Lee Lewis thanks to his maniacal style of piano playing intertwined with the showmanship that helped the rockin’ pianist become famous. Zachary Stevenson’s sizzling guitar licks and strong vocals makes a highly believable Carl Perkins (you might remember Stevenson from his outstanding performance as Buddy Holly in American Blues Theatre’s ‘The Buddy Holly Story’), while Thomas Malouf nails Johnny Cash with spot on singing and his ability to capture his live qualities. Zach Sorrow, who first stuns the crowd with his accurate rendition of “That’s All Right” and then later seals the deal with a classic performance of “Hound Dog,” plays Elvis Presley. Together they are a force. The cast is rounded out by studio session players Fluke (Nick Anderson) on drums and Jay Perkins (Michael Sinclair) on bass who present a show worth watching in their own right. Aeriel Williams stuns as Elvis’ girlfriend Dyanne who joins in the all-star jam session with a couple songs of her own including an inspired version of “Fever” that really shakes the house.

‘Million Dollar Quartet’ starts off with a bang with “Blue Suede Shoes” and then continues to highlight memorable songs from each performer including “Folsom Prison Blues,” “Who Do You Love,” “Great Balls of Fire,” “Peace in the Valley” and many more. A good mix of concert and theatre, this is a show that is heartfelt, entertaining and sure to leave a lasting impression - not to mention have many searching through their record collection when they get home. This is a show that captures its audience within the first minute, embodies rock n’ roll fun throughout and ends on a high note with its dynamic ending as a show featuring Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis should.

‘Million Dollar Quartet’ is currently playing at Theater at the Center through March 31st. For more information visit www.TheaterAtTheCenter.com.

Just imagine if you could be a fly on the wall during that infamous night when four legendary stars of rock and roll - Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis got together for one epic night at Sun Studios. That historic meeting had the young stars playing a variety of songs together while they shared their private sorrows and triumphs. Put it all together and you have the long-lasting recipe for success of the hit show "Million Dollar Quartet". Marriott Theatre is currently hosting the hit musical that actually plays more like a concert at times. 

Director James Moye uses the lovely theater’s in the round setting to create a new fresh and energetic staging of this show that will perk you up and make you feel the "sun" that must have been radiating out of the historic Sun Studios on December 4th, 1956 when these four young stars really did gather there to play on the same day. 

'"Million Dollar Quartet” is really an ensemble piece where all four lead characters also get a chance to shine individually during the course of the show. 

I have seen the show several times and even though these actors are playing monolithic stars and their memorable hit songs - each cast is totally unique. 

In this production Johnny cash played by Christopher J. Essex shines out as the best voice for Johnny Cash. Essex's deep rolling singing tones and gentle giant presentation are spot on and form an anchor for the entire cast to stay true to the singer they are portraying. Rustin Cole Sailors plays a nice, sensitive youthful Elvis and Shaun Whitley busts out with an excellent, rocking portrayal of Carl Perkins - blazing guitar playing and all. Marriott regular Laura Savage also impresses as Elvis’ girlfriend Dyanne, especially in her saucy rendition of “Fever”. Bassist Zach Lentino who play’s Carl’s brother Jay and Kieran McCabe who mans the drums are also a ton of fun to watch. 

But the real standout in this production comes from Nat Zegree as Jerry Lee Lewis. Zegree whose program biography states that he has played the role 350 times, is an animal in the role, prowling the stage and riding the piano like a tiger on speed. Zegree never loses sight of the brilliance of Jerry Lee Lewis piano chops and his ahead of his time, sexually charged rock and roll energy.  Zegree is a dancer, you can see that every step he takes, even while doing a headstand while continuing to batter the keys with ferocity and accuracy.

I've seen other actors play this role, but Zegree's interpretation and performance and piano playing is best I have seen. I imagine it must be difficult for an actor so multi-m talented to show off ALL of his talents in any other role. 

The show isn’t all rosy with four musical legends playing an impromptu one-night engagement. The story also delves into what an impact studio owner Sam Phillips (David Folsom) had on each of them – and how Presley, Cash, and Perkins outgrew the local music studio opting to go with big record labels like Columbia. Worry not, Phillips will be the first one to tell you he made out quite nicely.

A hearty soundtrack of favorite rock and roll classics light up the stage during the 100-minute play – toe-tapping hits such as “Blue Suede Shoes,” “Walk the Line,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Folsom Prison Blues” and “Whole Lotta Shakin’ Goin’ On.”

I thoroughly enjoyed the entire cast and every number in this exciting, inspiring show which was perfectly timed for the "dead of Winter" here in Chicago to warm up sleepy audiences. Zegree's showstopping, prodigy-like talents and explosive energy is a performance I will remember for a long time and makes this already great production one of the "must see" shows of the season. 

Highly recommended.

“Million Dollar Quartet” is being performed at Marriott Theatre through March 16th. For more show information visit www.marriotttheatre.com.

When Million Dollar Quartet hit Chicago, it was only scheduled for a month-long trial run at the Apollo Theatre. MDQ was the fascinating story about that historic night when Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis met together at Sun Records Studio, the place where they all got their start. They had some laughs and jammed the night away, never to reunite again. Well, we all know what happened. Million Dollar Quartet became a staple show in Chicago and ran for multiple years before finally closing its doors. The show’s writer and director, Floyd Mutrux, now takes us to the beginning when Elvis Presley met Sun Records owner Sam Phillips (Matt McKenzie) as we watch a musical career blossom like we have never seen before and will most likely never see again. The show, Heartbreak Hotel, could very well have a similar success than its predecessor, because it is packed with all the right ingredients to be another smash hit.

Performed at the Broadway Playhouse, Heartbreak Hotel gives us a glimpse to the future success of Presley, starting the show with a scene from the 68’ Comeback Special. Then we go back – to the beginning – where a young, shy Elvis (Eddie Clendening) sheepishly walks into Sun Records to record a song that he’d like to give his mother for her birthday. Prior to his visit we overhear Sam Phillips saying how if only there was a white young man who could capture the essence of the blues and make it his own – he’d become a sensation! Timing is everything. Not overly impressed with him, Phillips assistant asks Elvis what kind of music he likes to sing. Gospel – and thankfully, some blues. But Phillips sees potential after he hears him. After a few sessions of Elvis trying to get his sound at Phillips direction, it is during a break when Elvis and the studio musicians monkey with the blues tune “That’s Alright Mama” by speeding it up and adding a “rockabilly” sound to it, that heads turn, and it is realized they might just have a rising star on their hands.

The story takes off from that point as we see Elvis’ popularity take off, his record more in demand by radio listeners and a slew of sold out performances while touring, including his time with the Louisiana Hayride, a traveling show with several acts that included the likes of Johnny Cash, Johnny Mathis, Hank Williams and even Willie Nelson. Local disc jockey Dewey Phillips (played with precision by Colte Julian) can hardly keep up with the requests to play Elvis’ records. Elvis quickly outgrows Memphis. Of course, the smell of success attracts those who would like to take advantage of such. Enter Colonel Tom Parker (Jerry Kernion). Parker, a former carnival promoter, is as sleazy as they come, but he does have some big ideas and an endless supply of promotional gimmicks up his sleeve. Elvis, now too big for Sun Record’s distribution, is on the verge of being bought out by RCA – and Parker wants to manage him – for 50% of the profits. Well, Elvis does decide to go with Parker, and the rest is history as he becomes the most popular entertainer of all time.

Heartbreak Hotel mimics the style of Million Dollar Quartet in the way the songs are performed to be larger than life, capturing the excitement of the era. A highly animated, slap-happy stand-up bass player (Zach Lentino tearing it up as Bill Black), a twangy guitar with tasty fingerwork (Matt Codina as Scott Moore), big backing vocals and dancers, and, of course, a whole lot of Elvis make for plenty of electrifying action. Many numbers are co-performed by the song’s original artists, Geno Henderson very impressive in multiple roles of B.B. King, Jackie Wilson, Ike Turner and many others. By doing so, we admire, and appreciate, the origin of many songs and the artists that wrote them, and we marvel at Elvis’ creative vision to which he took those songs to a place unimagined at the time. The play hints that Sam Phillips coined the phrase “rockabilly” regarding the music of Elvis and the Blue Moon Boys, though his music traveled to places far beyond as his career matured.

Heartbreak Hotel is packed with early Elvis hits such as “Jailhouse Rock”, “Blue Suede Shoes”, “Don’t Be Cruel”, “All Shook Up”, but also contains other greats like Chuck Berry’s “Maybellene”, Little Richard’s “Tutti Frutti” and The Drifters “Money Honey”. Eddie Clendening does a really nice job in capturing the essence of Elvis from executing the moves we know so well to exuding the boyish charm and naivety the future King of Rock and Roll displayed in his younger days. The cast as a whole is well worth the wait and the band just as sensational, Zach Lentino the oft scene stealer with his happy-go-lucky bass antics. Other standouts include Katherine Lee Bourne in multiple roles, Erin Burniston as Elvis' girlfriend, Dixie Locke and Andrea Collier also in multiple roles.

Heartbreak Hotel is the extraordinary, energy-driven prequel of the highly successful Million Dollar Quartet, giving us not only a fun fact-filled history of the beginning of rock and roll, but also an exciting ride from beginning to end thanks to one power-packed musical performance after another. It is a show that can be enjoyed over and over again and is sure to stick around for a lengthy run. Clap along, laugh and enjoy what is sure to be Chicago’s next big show. This show is not just a must see for Elvis fans, but for all rock and roll fans alike.

Highly recommended.

Heartbreak Hotel is currently being performed at Broadway Playhouse. For tickets and/or more show information, visit www.BroadwayInChicago.com.

As I sat down in my second row center seats in Planet Hollywood Casino Hotel and Casino’s Saxe Theater, the couple next to me told me excitedly that they had seen Vegas! The Show as VIP's to meet the cast afterwards ten times! This lovely couple in their early sixties from the Midwest said that they return to the show every year and even have favorite cast members that they hope will be in the constantly evolving large cast.

The show starts off in what appears to be a dark warehouse filled with a slew of large, worn hotel and club signs once brightly shining to dazzle the Las Vegas crowds. Enter “Ernie” the maintenance man. Ernie addresses the crowd, telling us about Vegas’ golden era when the likes of Frank Sinatra, Dean Martin, Sammy Davis Jr., Ella Fitzgerald and Lena Horne were in their heyday, entertaining audiences and setting the unachievable standards for future Las Vegas stars. Ernie reminds us that these were the days when women would attend shows in fancy dresses and dapper gentlemen arrived in well-tailored suits or tuxedos as opposed to today’s show-goers that arrive in shorts, sandals with white socks and t-shirts that ask “Who Farted?”. After a bit more reminiscing, he then takes us to yesteryear and we get a glimpse at what once was. In a blink of an eye, the stage suddenly transforms into a sparkling set full of life, dancers, and colorful lights. A full band appears as we are thrust into the magic of classic Las Vegas. Vegas! The Show beautifully presents a timeline of entertainment that makes stops from the 1940’s through the 1970’s, sets changing with the times as we hear one classic number after another. 

Refusing to allow any gaps in entertaining its audience, the show brings forth a variety of amusing acts front of stage during set changes from jaw-dropping juggling acts to an aerial balancing beam team that gets plenty of “oohs” and “aahs” from nervous crowd members. This show is simply oozing with talent and entertains with the best of them. It is no surprise this show has been named “Best Show in Vegas” many times during its five-year residency.       

I enjoyed this show from beginning to end. If you have a yen to see a little bit of everything Vegas is known for like tall, beautiful showgirl numbers, great personality impersonations of singers like Tina Turner, Elton John, Tom Jones, Wayne Newton, Sonny and Cher and Elvis Presley, this is the show for you. 

As impressed as I was with the singing voices of the various star impersonators I was also blown away by the large cast of well-trained energetic young dancers who filled every number with so much excitement and sexy surprises it was hard to decide which part of the stage to watch. 

This is a saucy, slightly sexy, but never raunchy respectful tribute to the historic performers and places that have made the history of Vegas what it is today, is a breeding ground for great talent.

There's also some humor mixed in with the great singing and dancing and although the costumes are sexy, I would not hesitate to take kids to this show. 

The most poignant moment of this very upbeat variety show came in the form of a slideshow at the finale as “Elton John” sang “Rocket Man”. The footage consisted of film clips of all the past great who have graced Las Vegas such as Liberace, Elvis and The Rat Pack before switching into a montage of all the hotels (Sahara, Frontier, Dunes, etc.) actually being leveled by explosives to make way for the new and modern Vegas we know today.

Filled with interesting history tidbits about Vegas yet never slowing down by literally filling the stage in this intimate 400-seat venue with old school, eye popping glamour, this really is a show to see with friends and family who'd like to experience a little of each of the great parts of Vegas just like one would at a buffet – by getting a healthy gander at so many fabulous themes in a single night. 

Tickets currently run at $79.99 for general admission though a VIP package is offer for just $20 more that assures seats closer to the stage. Showtime’s are 7pm and 9pm seven days a week. Be sure to add Vegas! The Show on your Las Vegas to do list.  

Thanks to events like that which I attended last night, the music of Elvis Presley will live on forever – and that’s important, as the King of Rock and Roll is more relevant than ever. In a most fitting way to celebrate the legendary entertainer’s birthday, Northshore Center for the Performing Arts played host to the annual Elvis Tribute Artist Spectacular “Birthday Edition” during its tour of several dates around the Midwest. Unlike many Elvis tributes, we are not only treated to talented impersonators, but we are also met with history itself, that being musicians that actually performed with Presley at various junctures in his career. 

It’s no secret that Elvis was a huge gospel fan. After all he has recorded some of the most sensational gospel songs of all time. As history states, one of Elvis’ biggest gospel influences was the Blackwood Brothers Quartet, an outfit that has been around since 1934. Today, 81 years and generations of singers later, the now simpler named Blackwood Quartet are still touring the world spreading their inspirational music led by Blackwood royalty himself, Mark Blackwood. What better way to begin an Elvis tribute than with a handful of Blackwood Quartet songs of encouragement including a very inspired rendition of “He Touched Me”. The foursome then remained onstage to deliver backing vocals to many Elvis songs as only they could. 

Cody Ray Slaughter was the first of three Elvis tribute artists to take the stage and did so with a bang decked out in that ever so famous gold jacket to the tune of “Shake, Rattle and Roll”. Slaughter, the youngest performer to be awarded “Ultimate Elvis Tribute Artist” by Elvis Presley Enterprises” had Elvis’ stage moves down pat, inducing screams, oohs and aahs, with just the simplest gyration or dance step. Mostly taking on Elvis earlier hits, he was not only able to harness the charm and subtle humor of The King, Slaughter was also able to deliver a vocal performance with uncanny likeness to Presley himself. Slaughter continued to wow the crowd with hits like “Don’t Be Cruel” (with amazing backups by the Blackwood’s), “Heartbreak Hotel”, “Jailhouse Rock” and “Return to Sender” humorously introduced as “Return My Blender”. At one point Slaughter called on the Blackwood Quartet to join him around the microphone center stage for a lovely version of “Peace in the Valley”, the moving gospel Hymn that Elvis performed for his mother on the Ed Sullivan Show in 1957, despite the reluctance of the network.   

Let me take a breather here to acknowledge to band – the rock solid Fabulous Ambassadors who were accompanied by a good part of the set by original Elis Presley drummer and Rock and Roll Hall of Fame inductee, D.J. Fontana. Fontana, now 84 years old, played with Elvis for fourteen years, playing with him on over 460 cuts. This was an incredible thrill for the Elvis fans throughout the theatre, of which I should add were of ages ranging both younger and older. It was actually refreshing to see so many younger fans thoroughly enjoying the music of Elvis Presley. And why shouldn’t they? His music is timeless.      

Next up was Ryan Pelton who boldly conquered the stage within moments of making his grand entrance donned in the now-very-famously-known black leather jumpsuit that Elvis wore in the 1968 Comeback Special. For the most part the show stuck to an accurate chronological timeline barring a few exceptions. Pelton did a nice job in recreating some of the 1968 Comeback special, getting his biggest cheers for his performance of “Fever” thanks to his sultry vocals accompanied with a handful of strategic leg thrusts. After a number of memorable Elvis hits, Pelton ended on a high note with “Teddy Bear” where he joked with the crowd and tossed stuffed teddy bears to adorning fans. Slaughter then reclaimed the stage for a very emotional rendition of “If I Can Dream” one of Elvis’ most important songs of his time, a song of peace and understanding dedicated to the late Martin Luther King. 

Just after a twenty or so minute long intermission, The Sweet Inspirations took center stage from their position off to the side where they had been providing additional backing vocals and performed a bluesy song named after their group “Sweet Inspiration” – and they sounded terrific! Sweet Inspiration original Estelle Brown sang with Elvis from 1969 until his death in 1977 witnessing the peak of the rock legend to his unfortunate decline. Brown did offer a story to the crowd, one of her favorite memories of Elvis, where he had found out one of the Sweet Inspirations had just been diagnosed with cancer. Heartbroken, he knelt beside her, put his hand on her stomach and prayed with her. A few days later no traces of cancer could be found. And whether you believe that the power of prayer healed her or not, one can’t help be moved by Elvis’s concern and intent. 

We’ve now gone through the early career of Elvis, to the movie years, to the ’68 Comeback Special. It was now time for Shawn Klush to take over to recreate the Vegas years – personally, one of my favorite eras. Spotlights raced around the audience as the band went into 2001: A Space Odyssey and right on cue Klush entered the stage in his white peacock jumpsuit to get things rolling with “CC Rider”. Klush’s spot on vocals paved the way as he powered through the set with live favorites “My Way”, “Are You Lonesome Tonight?”, “Suspicious Minds”, “Always on My Mind” (a new edition to the set beautifully done) and “Polk Salad Annie” among others. It was already a set to remember before Klush ended strongly with a powerful version of “American Trilogy” and of course the song that Elvis ended his concerts with “Can’t Help Falling in Love”.

In all, the Elvis Tribute Artist Spectacular is just that – spectacular. If you are already an Elvis fan you will love it, if you are new to Elvis it will win you over. Basically, the show is like several concerts in one creating three hours of Elvis bliss. Following the show fans are able to meet the performers who are all too happy to share their memories of The King. Brilliantly musically directed by James Johnson, The Elvis Tribute Artist Spectacular has become a great tradition surrounding the birthday of Elvis and is something that can be enjoyed over and over again. For show updates and tour dates visit http://www.elvisbirthdaytribute.com/index.html. 

Thanks to shows like this and the other wonderful Elvis tributes that are being performed in Chicago, nationally and internationally, new generations will discover what we already know to be true – Elvis is the greatest entertainer of all time and his music is forever relevant. 

Throughout the years, we have seen all kinds of homages to Elvis Presley whether it be Elvis impersonators, biographical films, Elvis night at U.S. Cellular Field and, of course, theatrical productions. Of these few tribute samples, some are serious and sensitive while others more tongue-in-cheek. “All Shook Up”, a musical using the music of Elvis, is definitely the latter. Now playing at Theatre at the Center in Munster, Indiana, “All Shook Up” is a story about an Elvis-alike roustabout who comes across a square town where the tightly-wound mayor has unjustly imparted laws against innocent activities such as kissing in public and dancing or the interracial mixing of partners. Though the plot line is as silly as it gets with unlikely, but still predictable love stories breaking out everywhere, it is hard not to be entertained by the music alone.

David Sajewich plays our hero Chad, the leather jacket clad bad-boy drifter with greased back hair who hops from town to town via his motorcycle with the purpose of challenging authority by infusing fun and excitement into boring and restricted communities. Sajewich is very funny in the role, ever so naturally delivering spot on physical comedy and one hilarious line after another. He also sings several Elvis classics with a good deal of enthusiasm, his vocals finding suitable range for each number despite not having the most powerful of voice. In the show’s opening number, “Jailhouse Rock” we quickly realize Sajewich will not be attempting to sound like Elvis Presley opting to use his own singing voice (writer or director’s choice?), leaving a small amount of disappointment for those who had hoped the story’s character so obviously designed around Elvis would kind of sound like him, if even in a comical way.

Like Abba’s music in Mamma Mia! or Green Day’s in American Idiot, the music of Elvis Presley is transformed into massive stage numbers with changing leads, large choruses and big time dance choreography. It was also refreshing to see such an obscure choice of Elvis Presley songs used for this production rather than only the obvious choices. “All Shook Up” included favorites like “Don’t Be Cruel”, “Love Me Tender”, Can’t Help Falling in Love”, "A Little Less Conversation” and “It’s Now or Never” but also added lesser known songs (at least outside the Elvis world) such as “Follow that Dream”, “C’mon Everybody”, “Devil in Disguise” and a heartfelt rendition of “If I Can Dream”.

Outside of the campy over-the-top story that is on the borderline of ridiculousness, despite its borrowed storylines from Shakespeare’s "Twelfth Night," "As You Like It" and "A Midsummer Night's Dream", “All Shook Up” includes several likeable characters that are fun to watch and listen to, especially Bethany Thomas (Sylvia) with her gutsy and very impressive singing voice. Callie Johnson also shows off her comic and singing ability as tomboy motorcycle mechanic Natalie Hallow who is crushing hard on Chad while Justin Brill as the geeky, love stricken Dennis is also enjoyable to watch. Matthias Austin gets some of the biggest laughs as Natalie’s square turned rocker father Jim, as deserved, but Sharriese Hamilton (Lorraine) might just have the best comic timing of the bunch.

Cheesy story and all, “All Shook Up” is a very entertaining show with great music, charm and lots of very funny moments. It’s always nice to see the music of Elvis passed on to new generations and this show is a perfect tool for doing so, as it is a production suitable for all ages alike.    

The rock n’ roll hit Broadway musical “All Shook Up” is being performed at Theatre at the Center through August 16^th Wednesdays through Sundays, including weekend matinees. For tickets and/or more show information, visit www.theatreatthecenter.com.