How much Elvis is too much? The King of Rock n’ Roll is a perennial pop culture fave, and recently the subject of two major movies – Baz Luhrmann’s Elvis, and Sophia Coppola’s sobering corrective, Priscilla. Last month saw the 31st edition of the venerable Parkes Elvis Festival, and last week the death of rockabilly legend Mojo Nixon, whose most famous song informed us that ‘Elvis is Everywhere’. Almost 50 years after his death, the King continues to reign.
Presley’s latest manifestation comes in the form of this musical extravaganza, a stage-bound biography that loosely and lightly tells the story of his rise from rural Mississippi poverty to global domination, kicking off with Presley ruminating on his life backstage at the ’68 Comeback Special.
...perhaps this musical's shameless hagiography is understandable from a certain perspective – we come here not to bury the King, but to praise him.
If that reminds you of the Johnny Cash biopic Walk the Line (or, less charitably, the merciless parody Walk Hard: The Dewey Cox Story), you’re not alone. But Elvis: A Musical Revolution takes more cues from the recent Tina - The Tina Turner Musical. It’s a jukebox musical, of course (how could it not be?) boasting over 40 songs from the Elvis back catalogue. Well, bits of them, at any rate – in an effort to cram in as many Presley bangers as possible, the show resorts to medlies, which seems to be missing the point. Surely, in a production celebrating one of the most iconic musical figures in modern history, performing his songs in their entirety would have more impact than this Stars on 45-style approach?
The cast, at least, are decent. Rob Mallett (Nice Work if You Can Get It), who beat out some 700 competitors for the lead role, makes a good fist of it – all quiff, snake hips, and swagger. Of the supporting ensemble, Noni McCallum shines as Elvis’ mother, Gladys, here presented as a beatific figure; while Ian Stenlake’s (Stingers, Sea Patrol, Mamma Mia) turn as the conniving Colonel Tom Parker is effective, albeit one-dimensional. As Priscilla, Annie Chiswell (The Wedding Singer, High Country) is given little to do but pout, and the carefully sanitised portrayal of her relationship with Presley here stands in stark contrast with both other recent works and documented fact – there’s certainly no mention of her age (just 14-years-old) at the beginning of their romance.
This world-premiere Australian production is officially endorsed by Elvis Presley Enterprises, so perhaps A Musical Revolution’s shameless hagiography is understandable from a certain perspective – we come here not to bury the King, but to praise him. Presley’s life is carefully circumscribed, excising his post-1968 period of decline and reframing many of the events to put him in the best possible light. Notably, Elvis’ drafting into the army, which caps off the first act, sees him manfully stepping up against Colonel Tom’s protests – in reality, their positions were reversed.
Even forgiving that, the book by David Abbinanti and Sean Cercone is a shapeless, slapdash thing, careening from one event to another, jumping back and forth in time, and never giving us the space to feel any emotion besides nostalgia. Tina suffered because it failed to embrace or even acknowledge the contrast between Turner’s songs and the darker elements of her story. A Musical Revolution is even more guilty in that regard, in that it denies the darkness completely, portraying its central figure as a nigh-saintly southern mama’s boy who drifts through his own story with no sense of agency. Things happen to Elvis and around Elvis, but rarely because of him.
Still, the technical elements impress, particularly the costumes by Isaac Lummins – and considering how many outfit changes Rob Mallett goes through, the backstage team must be tight as a drum. But ultimately, Elvis: A Musical Revolution has nothing to say, and nothing new to show. It’s a big, glossy, expensive affair with a hollow heart. You’ll get a better showcase of Presley’s talent, and more insight into his life, from any garden variety impersonator, and lord knows there are plenty of those around.
Elvis: A Musical Revolution is playing a limited six-week season at Sydney’s State Theatre until March 9, 2024, followed by a national tour. Tickets are on sale now via Ticketmaster.
