I’m coming to realize that when viewing a play, I often start out tepid. I think this might be an effort on my part to remain objective, to let go of any preconceived notions and simply take in what’s about to unfold. If Playhouse on the Square’s Smokey Joe’s Cafe found me lukewarm at the top of Act One, then know that by the end of Act Two I was fully in love. This is a production that will win you over entirely.
Smokey Joe’s Cafe is a revue, and in case you’re unfamiliar with the theatrical term, let me explain. A revue has no plot or storyline. There are no characters to follow, no dialogue to keep track of. Smokey Joe’s Cafe is a revue that feels as though your favorite golden oldies playlist manifested itself onstage in a perfect paracosm of feel-good music. The music, all works by Jerome Leiber and Mike Stoller, is the central theme running through the show. Rich ensemble harmonies and outstanding solo numbers are rife throughout, and as an audience member, there is nothing asked of you except to sit back and experience pure, unadulterated entertainment.
The music in the show is what my parents would have grown up listening to on the radio. During intermission, my friend, Maggie Fyfe turned to me and said, “My mom would love this.” Because I grew up listening to ’60s hits, the songs were almost all familiar and comforting to me, as well, despite my millennial age. The general feeling in the audience was one of joy. I often found myself smiling underneath my mask, and every time I glanced around, everyone else was grinning as well. The occasional breaking of the fourth wall invites the audience in, and the atmosphere this show creates as a result is convivial.
I typically admire dressed-down set design, and Ryan Howell’s scenic configuration was no exception. By the second half of the show, where the cast really seemed to find their stride and turn up the energy, I was admiring it because it stayed out of their way. The elements of this show — the costumes, the live band onstage, the giant neon sign bearing the title of the play — come together seamlessly without distracting the viewer from the true point of the show: the musical performances.
Each member of the cast had an opportunity to shine, from Kylan Owens’ taking the spotlight in Daniel Stuart Nelson’s choreography, to Breyannah Tillman belting out “Hound Dog” like you’ve never heard before in your life — even in Memphis, Tennessee. Maggie and I paused on our way out after seeing the show to hash out our favorite moments. At one point she asked me, “Are you just gonna write about how sexy it was?” While it is difficult to refrain from gushing over Cleavon Meaborn IV crawling downstage during “Little Egypt” for the rest of this column, I will do my best to remain professional. (I think it was “Little Egypt.” I was so absorbed that my note-taking admittedly began to suffer.) Memphians will be pleased to note that the several Elvis songs throughout the show are performed without feeling campy or impressionistic, with each performer bringing distinct personality to the numbers.
The most powerful moment of the night, in my opinion, took place in Act Two. The female members of the company came together to sing “I’m a Woman,” and, being a woman of child-bearing age in the midst of current headlines, this one hit different for me. Brooke Papritz in particular took no prisoners, her voice ringing out with rage, passion, and pride. There were several times that Maggie and I glanced at one another with the raised-eyebrow expression that universally translates to an impressed, “Damn!” “I’m a Woman” contained one such moment.
Personally, I needed this show at this time in my life. Not every play or musical can offer you a chance to truly turn off your brain, forget your stress, and be uplifted. Smokey Joe’s Cafe offers up comedy alongside performances of some of the biggest hits of the 20th century. I walked out in a better mood than when I went in, which is the best praise I can give.
Smokey Joe’s Cafe runs through Sunday, May 29th, at Playhouse on the Square.
