I was a tad bit anxious on my way to see Memphis at the Chattanooga Theatre Centre. I had heard that it had racial overtones, and I worried that, in today’s political climate, it might be too triggering. I could not have been more wrong. This CTC production is upbeat, full of spirit and energy and all good fun. The singing and dancing: top quality. An excellent performance showcasing Chattanooga’s talent, “Memphis” should not be missed!

The show opens with a phenomenal song and dance. I did not think that this level of excellence could be maintained. However, this cast never faltered whether it be doing splits, head rolls, shoulder rolls and other gymnastics type moves. The strength, stamina and sense of beat and rhythm cannot be bested. Equally as strong: powerful voices belting out soul, rock and gospel.

The story, set in Memphis in the 1950s, focuses on a white DJ, Huey, who never finished high school and cannot even hold down a job stocking merchandise in a department store. Riley Shull, returning to CTC after 11 years, makes Huey both laughable and endearing. Despite Huey’s blockheadedness and naivete, the audience roots for him to succeed as a relatively ignorant white boy who enters into a black neighborhood seeking good music. He strives to replace schmaltzy dentist office music and the songs of Patti Page with dynamo tunes coming from a black bar on Beale Street.

Huey, falls in love with a black singer, played masterfully by Tori Burse, and the two must navigate a means to stay together whether that involves moving to New York City where Felicia can attain stardom or remaining in Memphis as a scorned biracial couple. While the plot may sound controversial, it is far less risky and less offensive than All in The Family: 100% family friendly.

“Memphis” attests that “music is truly a universal language” which breaks down barriers which words cannot. On stage, the black and white actors sing and dance together as they celebrate harmony and rhythm. Similar to West Side Story without the fighting between the Sharks and the Jets, Memphis provides a show in which talents of differing races are given equal attention and are equally as talented.

When Memphis originally opened on Broadway in 2009, I somehow missed it. When it won the Best Musical Tony later that year, nominated as the only original musical score alongside three jukebox musicals, I suspect I may have assumed that Memphis also used a pre-existing catalog of songs. No matter the reason, the show slipped through my theatre-going consciousness. I had never seen Memphis until the Chattanooga Theatre Centre’s current production. So, I was very happy to correct that lapse in my musical theatre knowledge. Memphis, with a book by David Bryan, and music and lyrics by David Bryan and Joe DiPietro, tells the story of Huey Calhoun, a Memphis DJ in the 1950’s who climbs the ratings charts by championing black artists and what was then known as “race music”. Huey is especially impressed with Felicia Farrell, a local singer whom he has fallen in love with. Facing the temptations of fame, and the oppression of a segregated society, Huey and Felicia’s story is one of hope, heartbreak, and the tremendous power of music.

Tori Burse , recently seen in the ensemble of SpongeBob: The Musical, plays Felicia. She gets to show off a wonderful voice alongside tremendous skill as an actor. The Character of Huey is so charismatic and energetic that it would be easy to get swept up in his dreams of living together as an interracial couple. Felicia is much more grounded – hopeful, but realistic about the challenges she and Huey would face. Burse is able to let us see moments when Huey’s dream is able to take hold in Felicia’s imagination - her face lights up…but never so much that she totally gives in. It makes for a rich characterization that is as arresting as it is heartbreaking.

Riley Shull’s Huey Calhoun is a force of nature for which I was not prepared. When we first see him wander into Felicia’s brother’s club on Beale Street, Huey isn’t the slick on-air personality he later becomes. He’s awkward, and the presence of a white man in this black club is a definite concern. When Shull opened his mouth, however, and a truly magnificent voice poured forth in praise of soul – I was as shocked as the characters on stage. Huey isn’t an easy character in a show that doesn’t pretend to have easy answers. He’s a dreamer and a gifted promoter, but he’s also naïve. The fact that Mr. Shull is able to win over the audience even at times when we doubt Huey’s foresight is a credit to his charisma.

Other standouts in the very talented cast include Beth McClary-Wolford, Myles Robinson, and Terrence Wright. McClary-Wolford plays Huey’s mother, a role that fits her like a glove, at times hilarious, but always touching. Robinson is Delray, Felicia’s protective older brother and brings a strong voice and presence to the role. Terrence Wright’s Gator, the bartender at Delray’s club, sent chills up and down my spine with his solo in the song “Say a Prayer”. There is really not a weak link in the cast among the principals or the ensemble. The direction by Michael Dexter and Rodney Van Valkenburg is sensitive and effective and the music under the direction of Michael Dexter is fantastic. Crystal Newsom’s choreography highlights the style of dance shows like American Bandstand that were so influential in the 1950’s. Jeremy Campbell’s scenic and lighting design were able to seamlessly convey the multiple locations and passage of the time that this show requires.

If you enjoyed Hairspray in past seasons, or last season’s Dreamgirls you will absolutely love Memphis. It’s a great show to enjoy with your family and friends – and is sure to spark some interesting conversations. The story highlights the importance of music as a unifying force across race, culture, class, and time, showing us how far we’ve come…but also reminds us how much more there is still left to do.