Blessed with a top flight creative team and terrifically talented cast, new bio-musical Elvis: A Musical Revolution shines in its best possible light.

David Venn Enterprises has steadily grown their reputation with crowd-pleasing productions of lesser known musicals, moving from Bring It On to The Wedding Singer and on to Cruel Intentions the ‘90s Musical. Making the leap to an original production of their own, Elvis: A Musical Revolution arrives in Melbourne in solid form, some inevitable teething issues sorted in the first leg of its tour in Sydney. 

Benefiting from audience awareness from the 2021 movie Elvis, the book by Sean Cercone and David Abbinanti moves along at a brisk pace, for the most part avoiding the mire of Wikipedia entries that beset bio-musicals. While that familiarity is an advantage, the secondary effect of the movie is that some of the story beats of Elvis’ life do not have the same impact they may have had without being seen so recently.

In line with the subtitle of the show’s name, there is a solid focus on the musical revolution heralded by Elvis’ blazing success. Elvis’ love for his mother also features, along with him being drafted to the army, his string of increasingly far-fetched Hollywood movies, and on to the legendary 1968 comeback special before finishing with a glimpse of the glitzy Vegas-era Elvis. 

Abbinanti’s second contribution is the terrific arrangements of the mighty Presley catalogue of hit songs. Expert musical direction from Daniel Puckey brings those arrangements to toe-tapping life, with Puckey leading nine fellow musicians in an electric, if unseen, musical performance. Ensemble vocals are equally strong. Musical mashups are also a highlight, a standout being the impressive recreation of Sinatra and Presley swapping signature tunes “Love Me Tender/Witchcraft.”

Storytelling is at its best in musical montage sequences, with early musical inspirations explored in “Welcome to Beale Street,” and those madcap movies gently mocked in dazzling act two sequence “Movie Medley.” If there is a flaw with the music selections, it is that they basically follow the timeline of song releases; more care could have been expended with matching song lyrics as commentary on particular situations and life stages.

With the story told in quite broad strokes, director Alister Smith nonetheless ensures that focus is sharp and supporting characters are vividly drawn. With song and dance at peak levels, Smith keeps energy for dialogue scenes just as high, and does not shy from unpleasant elements of the characters.

Certainly the splashiest show to play at the Athenaeum Theatre in many a year, the design collaboration of Dan Potra (sets) and Declan O’Neill (lights) results in a proscenium-filling, constantly changing stage picture that not only looks lush and glossy but also allows for an easy flow as the frequent montage scenes unfold. Video design by David McKinnon provides added texture with projected period footage and helpful displays of the year as the story moves back and forward in time.

The collaboration continues with choice costume designer Isaac Lummis pairing with hair and make up guru Trent Whitmore to craft a parade of period looks to catch the eye and deftly support the storytelling. Lummis has a gift for period costumes with a touch of wit; such costumes are seen in abundance here. 

Making slick use of the of the costumes is just one of the achievements of choreographer Michael Ralph. Working with a rear overhead walkway, Ralph literally fills the space with nifty, spirited dance performed by his tightly rehearsed ensemble. Opening act two number “Blue Suede Shoes” is a thrilling standout.

In a star-making lead performance, Rob Mallett commands the stage in a croony characterisation that neatly avoids impersonation. Possessing a tireless, rich bass baritone voice, Mallett delivers the hits as they deserve to be heard, giving an overall performance that is easily an attraction in its own right. 

An unrecognisable Ian Stenlake sets aside any vanity to play gormless schlub Colonel Parker. Although the script has Parker blustering Elvis into line rather than insidiously gaslighting him (as per the movie), the self serving character nonetheless comes off as ignominiously creepy. 

Noni McCallum makes maximum use of minimal scenes to craft a warm and affecting characterisation of beleaguered battler Gladys Presley. Matt Hayward supports McCallum as Vernon Presley, also shape shifting himself into a range of varied cameo roles. 

Always a delight, Kirby Burgess begins as perky recording studio assistant Marion before hitting her strides in the featured role of Ann-Margret, high profile Hollywood co-star to Presley. When playing Ann-Margret, as well as occasionally dancing in the ensemble, Burgess’s dance moves draw audible gasps from the audience. 

Ben Hall charms in a trio of roles. Sienna Embrey is endearingly sweet as early Elvis flame Dixie. Talented performer Annie Chiswell languishes in a one-note version of Priscilla Presley. 

Ensemble highlights include authentic rhythm & blues and gospel singing from Charly Williams and well-timed comic delivery from Hanlon Innocent as bassist Bill Black.

Clearly not aimed at the Sondheim crowd, or even the Rodgers and Hammerstein set, Elvis: A Musical Revolution is sure to entertain fans of the King. When the key musical sequences are in full flight, it is jukebox musical theatre at its best.

Elvis: A Musical Revolutionplays at Athenaeum Theatre, Melbourne until 17 December 2023. For tickets, click here.

Photos: #1, #2, #4, #5, #7 Ken Leanfore; # 3, #6 Daniel Boud