GETTYSBURG – A smoky haze fills Sun Records Studio, Memphis …
It’s not the expected start of a Christmas story, but here we are, and the coin has been dropped into the jukebox musical closing of Totem Pole Playhouse’s 75th season.
Fat Christmas lights are strung along the studio wall with care, in hopes that four of music’s greatest legends soon would be there. Isaac Gudgeon’s humble yet gold album boasting set design sits below a rooftop tree formed with strings of lights, crowned with a star. In this case, one might argue it’s a blazing double entendre for not only the King of Kings, but also the King of rock-n-roll and a host of music’s celestial bodies.
In a reimagining of one of the Playhouse’s audience favorites, “Million Dollar Quartet,” this Christmas version brings Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins together for a holiday jam session, and there’s a whole lotta shakin’ goin’ on in this creation from the book by Colin Escott.
Director Ryan Gibbs, also Totem Pole’s jolly ole’ elf of a producing artistic director, greets the audience (who have packed the house by the busloads), and thanks the sponsors who provided the moola-la to put on this fa-la-la-la: Sign of the Buck, Patriot Federal Credit Union, Adams Electric Cooperative, Inc. and Members First Credit Union.
Gibbs has done his job well, packing phenomenal talent into a production that never loses its tempo.
Now don’t get too cozy in your seat, because you’ll spend most of this performance bouncing on the edge of it. If you are wondering if the actors are really playing their instruments, the answer is yes. Elvis, played by Alessandro Gian Viviano, will be the first to prove it, with “Santa Claus is Back in Town,” “thank you, thank you very much.” This marks Viviano’s 12th production expertly portraying the King with smoldering smooth signature style punctuated with gyrations, fevered legs and swiveling soul.
Music Director Scott Moreau plays Johnny Cash. Moreau has made a lifestyle of “MDQ,” as a member of the 1st National Broadway Tour, 20 subsequent regional productions and more than 1,300 performances, all evident in his well-tuned spin on the Majestic stage. He draws the audience into Cash’s interior, sharing the true story of buying his first beat up guitar at a pawn shop while stationed in Germany in the U.S. Air Force.
Cash, reflecting on the Macy’s Parade, asks, “What would Jesus make of all this?” The Man in Black had a conflicted relationship with God, rooted in Baptist upbringing and darkened with the guilt of addiction and sin. The actual Cash said, “Being a Christian isn’t for sissies. It takes a real man to live for God– a lot more than to live for the devil.” Lest we leave too drunk in Christmas indulgences, Moreau powerfully delivers us down into Cash’s “Ring of Fire.”
Costume Designer and Managing Director Fern-Marie Aames said, “We’re very fortunate to have this kind of talent here to be able to bring this to the community.”
Aames returns after costume designing for Totem Pole’s 2023 production of “MDQ.” She nails the iconic looks – from Johnny Cash as the man in black to a youthful 20-year-old Jerry Lee Lewis, clad in red from his shirt and suspenders, all the way down to his argyle socks, peeking out from canvas hi-tops.
Alex Burnette makes a jungle gym out of the piano, playing the high-octane Jerry Lee Lewis, gymnastically contorting and flying across the ivories. Why be limited by fingers? Burnette shows off, kissing the keys with his toes, elbows and any other body part available to play. Burnette steals the show as Lewis in his ego ballooning beginnings, a year before he’d take off like great balls of fire. And yes, Burnette had plenty of practice honing that entertaining ego as a Sun Recording Studio regular for other productions of both versions of the show. Lewis quips, “Jerry Lee got the talent, then those [others] got the scrappins’.”
Perching on the piano for a guitar solo, Sam C. Jones plays Carl Perkins, a role he’s reinvented in both versions of the show on land and at sea. Perkins scuffs those blue suede shoes, sharing the complexities and loss incurred as he attempted to place them in the spotlight. In a highlight of his performance, Jones matches Perkin’s famed acrobatic move, playing guitar behind his back.
Sam C. Jones as Carl Perkins in a mind-blowing blind lick
Sam Little, a Totem Pole veteran, makes his “Million Dollar Quartet” debut playing Sam Phillips, record producer and founder of Sun Records and Sun Studio, a small two-person operation responsible for launching the careers of all four artists, only to eventually lose them to larger labels.
Little portrays the almost paternal nurturing heart of a man proud of his discoveries, yet understanding their need to grow beyond him. Little’s earnest performance lends a sincerity that balances the egos of this talent show, as he decks the halls like a pleased parent, eager to sweeten the return of adult children and savor the nostalgia of their younger days and beginnings. He is so compelling in his warmth, he may threaten melt of the vintage three-foot plastic snowman he joyfully hauls out on display.
Caroline Hanks plays Dyanne, Elvis’ love interest. Hanks is seasoned in the role from a previous production with Mill Mountain Theatre. Taking up the intimidating challenge of singing solo amongst these notorious four, Hanks holds her own. Dyanne decks the halls and shares good-natured companionship, but shows the strength of her spine when she declines invitation to share Christmas with the King. It’s a nice touch to include the portrayal of a competent, talented woman, comfortably independent to function as much more than mere adornment to Elvis. Hanks possesses a commanding “Santa Baby” sultriness, managing to pull off sexy while strumming a ukelele.
Mike Lucchetti plays Fluke, having dynamically drummed his way through 16 different productions, including the National Tour. Joe Schaefer joins the team of Sun Records house musicians, plucking his portrayal of Brother Jay, the stand-up bass player, with savvy mellow soul. Both solidly underscore the leading men with their own solo turns in the spotlight.
With this many cast veterans of the show, one wonders if Choreographer Alyssa Little found herself in an overabundance of collaboration. The feats of choreography elevate the performances and music to next level awe.
Kate Wecker delivers crisp rich sound design that fills the house with a charged fullness that reverberates in your bones without the volume overwhelming.
Aames outfits the cast for a sequined finale befitting their dazzling encore. Elvis tosses his red scarf into the audience, where it lands with divine precision with Kathy Phiel and her friends. Phiel is such a fan of “MDQ,” she’s seen it 10 times. The opening performance of the Totem Pole production marks her first time experiencing the Christmas version of the show, but she’s already planning a return for the closing weekend.
Phiel said, “it’s worth seeing another five times!” Her friend Linda Durkos enthusiastically added, “ the energy never stops!”
Kathy Phiel scores the best souvenir
Photo credit: Kathleen Davison
I’ll tuck this little jingle bell rock history lesson into your stocking: though there was never a holiday themed session, there really was an impromptu event on Dec. 4, 1956, at Sun Record Studios in Memphis, Tennessee, which brought this notorious quartet together by chance.
Carl Perkins was in the studio for a recording session and Jerry Lee Lewis, yet unknown, was invited by Sam Phillips to play piano. Elvis just happened to stop by his former label for a visit, accompanied by Marilyn Evans, a dancer he was dating. Johnny Cash popped in after some Christmas shopping, never suspecting the unrehearsed jam session of gospel, country, and blues would ensue and be immortalized in a recording by Jack Clement. Meanwhile, Sam Phillips dialed Ben Johhnson, entertainment editor for the “Memphis Press-Scimitar,” who headlined the article, “Million Dollar Quartette,” the following day. It marked the only time these legendary four would record together.
P.S.: Marilyn Evans truly did not spend Christmas with Elvis. Their romantic involvement ended a few weeks later.
“Million Dollar Quartet Christmas” runs Dec. 3–14, at the Majestic Theatre, 25 Carlisle St., Gettysburg. So run run, Rudolph, and have Santa Baby shake up the silent night to rock everyone around the Christmas tree and shake off any blue Christmas! Tickets are on sale now at Million Dollar Quartet Christmas, or call the box office at: 717-337-8200.
This is a special year for the Majestic Theatre, celebrating its 100th anniversary. Visitors will be wrapped in the Christmas wonder and charm of downtown Gettysburg as they indulge in this centennial celebration.
Since 1987, Totem Pole Playhouse has produced Wil Love and Carl Schurr’s adaptation of Charles Dickens’ “A Christmas Carol,” holding a warm place in the holiday tradition of scores of regional performers and spectators. Though this year the Majestic Theatre will only echo “Bah, humbug!” as a Ghost of Christmas Past, rest assured that the Ghost of Christmas Yet to Come heralds the show’s return in 2026.
