Displaying items by tag: Elvis Presley

Marriott Theatre’s Heartbreak Hotel takes on the tricky task of charting Elvis Presley’s early ascent, walking the line between the mythic figure we think we know and the unpolished young man still figuring out who he was becoming. What emerges is a brisk, music‑driven portrait that leans into the volatility of those formative years - the industry pressures that boxed him in, the personal crossroads that pushed him forward, and the creative sparks that hinted at the cultural earthquake to come. It’s a show less interested in polishing the legend than in capturing the restless drive of a talent on the verge of rewriting American music.

Heartbreak Hotel traces Elvis Presley’s early rise with a pace that stays brisk without ever feeling hurried, using a clever device: a ’68 Comeback‑era Elvis looking back on his younger selves. At times the man, the teen, and the 11‑year‑old boy share the stage simultaneously - singing, reminiscing, harmonizing - embodying a life moving faster than any one version of him can fully grasp. The musical follows Elvis from the tentative spark of his Sun Studio sessions into the glare of national attention, tracing how each new opportunity brings both momentum and complication. Producers, handlers, and well‑meaning advisors orbit him constantly, each with a different vision of who he should become, and the show uses those interactions to underline just how precarious his initial ascent really was.

As the demands of fame tighten around him, the story frames Elvis’s evolution as a series of choices - some instinctive, some imposed, all shaping the performer he’s still learning to be. Rather than digging for psychological depth, the plot focuses on the push‑and‑pull between artistic hunger and commercial pressure, capturing the uneasy transition from raw talent to cultural commodity. It’s a portrait of a young man standing at the edge of a seismic career, long before the iconography calcifies and the legend overtakes the life.

At the center of Heartbreak Hotel is Tyler Hanes playing Elvis Presley, who carries the show with a mix of youthful swagger and genuine vulnerability. His performance hinges not just on vocal accuracy but on capturing the restless, slightly bewildered energy of a young man being swept into stardom. His renditions of “Blue Suede Shoes” and “Heartbreak Hotel” land with the right mix of polish and rawness, and his quieter moments - particularly the early Sun Studio sequences and those paired with Priscilla - give the production its emotional grounding.

The show’s Colonel Tom Parker, portrayed by Rob Lindley, is the necessary counterweight: charming, calculating, and always two steps ahead. Lindley brings a slick, almost Vaudevillian charisma that keeps the character from slipping into caricature (although Parker may have been a caricature of himself anyway). His scenes pop with tension, especially in numbers where he orchestrates Elvis’s next move with a smile that never quite reaches his eyes.

Tyler Hanes as Elvis Presley (center) with ensemble in Heartbreak Hotel at Marriott Theatre.

The Sun Studio ensemble - the musicians, producers, and collaborators - provide some of the production’s most engaging textures. Jackson Evans, as Sam Phillips, is heavily featured in the first act and delivers one of the show’s standout performances, offering a steady, clear‑eyed presence that anchors the opening chapters with real artistic purpose. The play digs into Phillips’s instinct for raw talent - his uncanny ability to spot greatness beforehand - and makes clear that his relentless championing of Elvis is what first carried the young singer’s sound across Memphis and into the broader South. His work with the band digs deep and gives us an idea of Phillips’s impact in shaping a new kind of rock ‘n’ roll sound. Their group numbers in the studio, including “That’s All Right,” have an infectious looseness that contrasts sharply with the more commercialized performances later in the show.

The supporting cast adds essential color. Colton Sims offers a sharp, unaffected turn as Teen Elvis, capturing the raw spark before the polish sets in, and Charles Adler Bischoof, as young Elvis, brings a bright, unguarded innocence that reminds the audience just how early the legend began.

Elizabeth Telford lends Gladys Presley a quiet emotional weight, centering the story whenever she’s onstage. Anna Louise Bramlett brings an earnest warmth to Dixie, while Amanda Walker gives Priscilla a steady, grounded presence that subtly deepens the story.

In one of Heartbreak’s most exciting moments, Alexandra Palkovic takes control of the stage delivering a sleek, charismatic jolt as Ann-Margret, hinting at the whirlwind to come. Palkovic dances with real fire, echoing Ann‑Margret’s signature style with crisp precision and an infectious burst of energy. Palkovic later joins Hanes in one of the most touching moments when the two perform a beautiful rendition together of “You’re the Boss.” The addition of a full Ann‑Margret song‑and‑dance number feels especially meaningful, since her on‑screen chemistry with Elvis has always struck me as one of the high points of his physical and emotional vitality.  

Tyler Hanes as Elvis Presley and Alexandra Palkovic as Ann-Margret.

Karl Hamilton gives Vernon Presley a quiet, understated presence, and Naiqui Macabroad stands out in his multi‑role track - Johnny Bragg, Chuck, Jackie Brenston, and the producer for both Steve Allen and Ed Sullivan - slipping between characters with crisp versatility and welcome bursts of personality. Fredrick Webb Jr. also makes a strong impression in multiple roles, notably as Roy Brown, Otis Redding, Fats Domino, and throughout the ensemble.

Going back to the musicians, the live band is one of the show’s more memorable assets. With Jake Busse as Bill Black, Zac Richey as Scotty Moore, and Trevor Lindley Craft as Ronnie (pre-DJ Fontana days) forming the tight onstage trio, the musicians anchor the production with a sound that feels both authentic and freshly charged. Lindley Craft doubles as Frank Sinatra. He and Hanes deliver one of the evening’s highlights as they recreate the famous duet from Elvis’s post‑Army appearance on The Frank Sinatra Show - a stylish medley of “Love Me Tender” and “Witchcraft” that lands with effortless charm.

Melanie Brezil also brings a radiant spark to Sister Rosetta Tharpe, delivering her featured moment with bright, joyful command on both vocals and guitar.  

Together, the band’s instrumental work and the ensemble’s rich harmonies elevate the musical landscape. A mid‑show gospel sequence of “Peace in the Valley” – another one of this staging’s big moments - showcases the ensemble’s vocal power and reminds the audience of the musical traditions that shaped Presley long before fame did.

Marriott’s in‑the‑round setup gives Heartbreak Hotel an expansive energy, with action unfolding on all sides. The cast’s aisle work draws the audience in, creating a surprisingly immersive sense of scale, and the smart use of media and projections amplifies that impact even further. A staging in this intimate space gives the storytelling room to gather real thrust. That quality becomes especially clear as the sequences build toward the emotional high point, when Elvis finally sheds the cookie‑cutter movie image he’d long outgrown and reclaims his artistry in the ’68 Comeback Special, reestablishing his place as the King of Rock ’n’ Roll. 

I’ve always been drawn to stories orbiting Elvis Presley, and Heartbreak Hotel earns its place among them by honoring the legend without embalming him in nostalgia. Elvis wasn’t just a chart‑topper; he was a cultural accelerant, the artist who fused gospel, blues, country, and rhythm‑and‑blues into a sound that detonated across America and permanently rewired its musical DNA. His influence stretched far beyond the stage - reshaping fashion, performance style, youth identity, and the very idea of what a pop star could be. Productions like this one matter because they keep that seismic legacy in motion, passing it from one generation to the next not as a museum relic, but as a living, breathing force that still shapes the music we hear today.

When referring to rock 'n' roll, John Lennon said it himself, “Before Elvis, there was nothing.” Heartbreak Hotel echoes that sentiment.

Directed and choreographed by Deidre Goodwin, this musical bears the imprint of an artist who understands how to propel a story without letting the spectacle swallow it. Her direction shapes the evening with a steady, purposeful rhythm, keeping the focus tight even as the musical numbers expand outward. Goodwin’s fantastic choreography blends period flavor with a clean, contemporary precision, giving the show a kinetic pulse that feels both rooted in its era and alive in the present. It’s her sense of balance - between nostalgia and freshness, between narrative drive and musical release - that ultimately gives the production its lift.

Elvis devotees will find plenty to appreciate in Heartbreak Hotel, which treats the King’s formative years and artistic rebirth with genuine affection and a clear understanding of his musical legacy. But the show’s appeal stretches well beyond Presley fandom; anyone who loves American music - from gospel and blues to early rock and soul - will recognize the joy in hearing these sounds brought to life by a superbly talented cast and band. Heartbreak Hotel runs through June 2nd at Marriott Theatre and is an exciting musical experience well worth attending. 

For tickets and/or more show information, click here. 

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Some nights in the theatre create a hum with the kind of energy you can feel in your chest - nights when the performers aren’t merely revisiting history but reliving it, reigniting it, and passing that fire straight into the audience’s hands. That’s the voltage running through Stolp Island Theatre’s exhilarating production of Million Dollar Quartet, staged with remarkable precision, pulse, and musical instinct by director Jim Corti.

Set inside the intimate jewel‑box space perched along the Fox River, the production transforms Stolp Island Theatre into a full‑blown time machine - Sun Records beautifully simulated and reborn in the heart of Aurora. The moment you step inside, you’re whisked straight to 706 Union Avenue in Memphis. Even before the show begins, the lobby sets the tone: a 1950s soda‑fountain concession stand invites you to grab a drink, a gleaming vintage motorcycle begs for a photo op, and the walls are lined with memorabilia that feels lovingly plucked from rock ’n’ roll history. Wander a bit further and you’ll find yourself inside a beautifully crafted reproduction of Sam Phillips’ own small office - warm, worn‑in, and full of history you can actually touch and walk through. 

Then, with a sudden shift, the doors open and you find yourself standing inside a true-to-size replica of the original Sun recording studio, set up as a theater in the round. 

This small but elegant one‑of‑a‑kind environment where Elvis Presley, Johnny Cash, Carl Perkins, and Jerry Lee Lewis aren’t just characters on a stage, but living, breathing artists hanging out, cracking jokes, and making music mere feet away. I’ve seen many great productions of Million Dollar Quartet in beautifully designed houses, but this is the first time where I actually felt the breath of Elvis on my neck as he entered the stage or the sweaty frenetic energy of Jerry Lee Lewis brushing my hand with every single entrance to the stage which made the show very exciting as an audience member. 

Madison Palmer and Corey McKinney in Paramount's Million Dollar Quartet at Stolp Island Theatre.

Paramount’s restaging is as fun as it is brilliant. The audience isn’t simply watching a musical; they’re dropped directly into the legendary jam session of December 4, 1956, when Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins unexpectedly found themselves sharing the same room for one unforgettable night. What begins as a casual drop‑in quickly erupts into a spontaneous collision of talent, ego, and raw creative electricity - the kind of alchemy that could only ignite once, and only inside a cramped Memphis studio run by a visionary who believed in these young artists long before the rest of the world caught on.

Through a propulsive blend of music, sharp‑edged banter, and simmering backstage tensions, the show digs into the crossroads each man finds himself standing at - the tug‑of‑war between loyalty and ambition, the pressure of sudden fame, and the shifting identities of artists still discovering who they are and who they might become. What emerges is not just a snapshot of a legendary night, but a portrait of a pivotal cultural flashpoint, a moment when rock ’n’ roll was still being forged in real time and four rising stars found themselves sharing the same room, the same microphones, and the same uncertain horizon.

Sam Phillips may have discovered these artists and shaped them into the icons they’re becoming, but the question hanging in the air is whether loyalty to a small, scrappy label like Sun Records can still serve them - or whether they’ve simply outgrown it, destined for the bigger machines of Columbia and RCA. The show drops us right into that critical juncture, that uncomfortable, high‑stakes conversation where ambition, gratitude, and survival all collide. 

It’s a charged moment in the story, and the production meets it with a cast more than capable of carrying that weight.

And that weight is carried first by Garrett Forrestal who doesn’t just play Jerry Lee Lewis - he unleashes him. From the instant his fingers hit the keys, he’s a live wire: mischievous, magnetic, and gloriously unhinged in all the right ways. His piano work becomes its own spectacle, and his razor‑sharp comedic instincts make him the spark plug that keeps the entire night crackling.

Garrett Forrestal in MDQ at Stolp Island Theatre.

Corey McKinney follows with a beautifully layered Elvis - yes, the swagger is spot‑on and the voice is uncanny, but it’s the vulnerability beneath the rhinestone shine that makes his execution unforgettable. He captures a young King at a turning point: confident yet conflicted trying to make the best decision for his career while remaining loyal to the man who gave him his first break. 

Brian Grey, performing as Johnny Cash the evening I attended, offers a deep, velvety counterweight to the surrounding chaos - resonant, restrained, and quietly commanding. He nails Cash’s signature rolling, two‑step pulse. The emotional depth of Grey’s portrayal of Cash is really felt by the audience as his eyes blaze with the same fierce righteous honesty during his dialogue. Grey has a tremendous amount of gravitas and the miraculous, unbelievably low notes he hits while singing “Folsom Prison Blues” make the crowd go wild. Grey is hands down one of the best MDQ cast Johnny Cash’s I’ve ever seen. 

Rounding out the rock ’n’ roll trailblazers is Matt McClure, who gives Carl Perkins the spotlight he’s long overdue. His crisp, fiery guitar work pairs with a performance full of grit and verve, playing Perkins with a chip on his shoulder and a fire in his gut. McClure’s guitar work is strikingly assured, each riff delivered with a clarity and confidence that elevates every moment he’s onstage.

Madison Palmer as Elvis’s girlfriend, Dyanne - a confident vocalist in her own right - brings it big time. Her sultry, simmering take on “Fever” tantalizes the audience and brings all the sexy female energy missing from this quartet of machismo! Palmer is a delight; she has a great vocal range and panache that this production’s lead female singing role requires. It is implied by Elvis that her character is talented enough to record with these icons and that she, too, might be a voice ready to burst into the spotlight. 

Jake Saleh adds humor, rhythm, and charm as Brother Jay, his tight, expressive bass lines and playful physicality keeping the momentum buoyant throughout. Robert Brandon matches that vitality as W. S. ‘Fluke’ Holland, his grounded, stylish percussion giving the music shape and elevating the ensemble’s chemistry.

The cast and band deliver musicianship of exceptional caliber, playing with such precision, passion, and force that the entire production feels supercharged. They really play their hearts out.

Connor Green isn’t part of the musical lineup, yet his portrayal of Sam Phillips binds the entire production together - warm, gritty, and quietly authoritative. We can’t help but appreciate the situation he’s in. Phillips is the man who believed in these boys before the world did, radiating both pride and heartbreak as he watches his protégés outgrow the nest he built for them.

Having experienced Million Dollar Quartet in a range of productions across the years, I can say this one stands out as the most fully realized and emotionally resonant. The intimacy of the staging, the sheer talent of the cast, the way the studio set becomes a living, breathing character in its own right, and the meticulous attention to period detail all combine to create something rare.

The Stolp Island Theatre’s intimate 98‑seat layout feels tailor‑made for this show - the band is practically within arm’s reach, the sound warm and immediate, and the closeness so sharp it’s as if the audience is eavesdropping on history in real time. The design team leans fully into the Sun Records aesthetic, all wood tones, warmth, and lived‑in detail, creating a space that looks and feels less like a set and more like a working Memphis studio caught in the middle of something extraordinary.

This Million Dollar Quartet shines even brighter thanks to a top‑tier creative team working in perfect sync. Directors Jim Corti and Creg Sclavi steer the production with a confident mix of musical precision and character‑forward storytelling, shaping an evening that feels both tightly crafted and effortlessly alive. Kory Danielson’s musical direction fuels the show with irresistible drive and authenticity, while Jeffrey D. Kmiec delivers a Sun Records set that’s so textured and atmospheric it practically hums with history. Matt Guthier’s era‑sharp costumes complete the world with style and specificity. And Garrett Forrestal, also working as Associate Music Director, adds a final layer of polish that keeps the ensemble sounding crisp, unified, and thrilling from start to finish.

Million Dollar Quartet at Stolp Island Theatre is a high‑octane celebration of rock ’n’ roll history, ignited by powerhouse performances and a setlist packed with classics like “Blue Suede Shoes,” “Great Balls of Fire,” “Hound Dog,” “Long Tall Sally,” and a haunting rendition of “Ring of Fire.”  The show captures the thrill, spontaneity, and sheer musical joy of that legendary night, and brings the energy of 1950s rock ’n’ roll roaring back to life.

Part concert, part play, and all adrenaline - Million Dollar Quartet turns into one heck of a ride. This production is highly recommended and runs through March 31st, offering a chance to experience this electrifying slice of American music history.

For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Paramount Theatre’s long-running smash hit musical Million Dollar Quartet has wrapped its winter break, and is rebooting to rock downtown Aurora’s Stolp Island Theatre for three more months, March 4-May 31, 2026.

Repeat audiences know, and newcomers really should experience, this new, limited engagement of Paramount’s critically acclaimed, immersive Million Dollar Quartet. Both the theater and the show were custom built to create an intimate, jukebox musical experience like none before, inventively staged inside a replica of the original Sun Records studio in Memphis.

It was there, on December 4, 1956, where Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins famously came together to record one of the most historic jam sessions in rock ‘n’ roll history. In Paramount’s Sun Records, the musical delivers incredible, up-close live performances of some of the best songs in rock ‘n’ roll history, including “Blue Suede Shoes,” “Folsom Prison Blues,” “I Walk the Line,” “Hound Dog” and “Great Balls of Fire.”

Paramount’s production returns with its original Jerry Lee Lewis, Garrett Forrestal, still leaping off his piano since MDQ inaugurated Stolp Island Theatre in June 2024. Veteran rockabilly player Matt McClure returns as Carl Perkins. Also back are Corey McKinney as Elvis Presley and Michael Potter as Johnny Cash, breaking hearts and walking the line respectively since last summer. Connor Green is new to the cast, stepping in as Sun Studios founder Sam Phillips. Paramount’s original Dyanne, show stopper Madison Palmer, and Maeghan Looney as Marion, are both returning for the extension, along with Brandon Pollard as Fluke, and Roy James Brown as Brother Jay, through Mar 22, when Jake Saleh returns as Brother Jay. 

Don’t miss Paramount’s radically unique restaging of one of the most popular jukebox musicals of all time. Dean Richards, WGN-TV/AM, said it was “like stepping into Sun Records where one special night took place." Chris Jones, Chicago Tribune, called it “another example of how much the success of the nonprofit, audience-focused Paramount has transformed the center of Aurora into a live entertainment destination.”

Paramount’s Stolp Island Theatre is located at 5 E. Downer Place, Suite G, in downtown Aurora, with several restaurants and easy, affordable parking just a short walk away.

Paramount’s new, limited engagement of Million Dollar Quartet reopens March 4 and runs through May 31. Performance times are Wednesday at
1:30 p.m. and 7 p.m., Thursday at 7 p.m., Friday at 7 p.m., Saturday at 2 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m.

All seats are $76 when purchased in person. Additional fees apply for phone and online orders. For tickets and information, visitParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd., Monday–Saturday, 10 a.m. to 6 p.m., and until show time on show days. 

Million Dollar Quartet inaugurated Paramount’s new Stolp Island Theatre with much fanfare in July 2024. The production was extended three times due to popular demand, running for more than a year and a half prior to this spring 2026 extension.

Chalk this success up to being a production that delivers on all fronts. As soon as audiences step into the lobby, they find themselves outside the legendary Sun Records recording studio in Memphis, Tennessee, where they can step up to the Taylor’s Good Food concession stand for affordable snacks and beverages, view displays about the history of the play and take selfies astride a vintage-style motorcycle.

Paramount’s directors Jim Corti and Creg Sclavi worked with a “million dollar” production team to create a truly a one-of-a-kind live musical experience, stocked with amazing talent, an incredibly detailed, environmental set, and the amazing production values audiences expect from Paramount.

The production team includes Kory Danielson, music director; Jeffrey D. Kmiec, scenic designer; Matt Guthier, costume designer; Greg Hofmann, lighting designer; Adam Rosenthal, sound designer; Mike Tutaj, projections designer; Katie Cordts, wig, hair and makeup designer; and Jonathan Berg-Einhorn, properties designer. Rebecca J. Lister is stage manager and Emily Hanlon is assistant stage manager. Understudies are Roy James Brown (principal Brother Jay to start, understudy when Jake Saleh returns in late March), Brian Grey (Johnny Cash, Sam Phillips), Michael Kurowski (Jerry Lee Lewis, Elvis Presley), Drew Mitchell (Fluke), Ben Smallwood (Carl Perkins) and Kyle Wells (Brother Jay). The book is by Colin Escott and Floyd Mutrux. Original concept and direction by Floyd Mutrix.

Verano, a leading cannabis company that operates Zen Leaf dispensaries in Aurora and across Chicagoland, is Venue Sponsor for Stolp Island Theatre. Old National Bank is Marquee Sponsor for Million Dollar Quartet.

Paramount Theatre’s smash hit musical Million Dollar Quartet has been extended once more due to popular demand.

Previously set to run through January 4, 2026, Chicagoland audiences can look forward to Million Dollar Quartet rocking for three more months, March 4-May 31, 2026.

See Paramount’s wildly acclaimed, immersive staging of Million Dollar Quartet before it’s gone. All remaining performances in 2025 are sold out, but tickets for spring extension performances go on sale today, exclusively to Paramount’s 2025-26 season subscribers.

Tickets go on sale to the general public on Monday, December 22 at 10 a.m. All seats are $76. For tickets and information, visit ParamountAurora.com, call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd., Monday–Saturday, 10 a.m. to 6 p.m., and until show time on show days. Attention holiday shoppers: tickets to Million Dollar Quartet also make excellent gifts. Prices listed are for in-person purchases. Additional fees apply for phone and online orders. 

Performance days and times March 4-May 31, 2026 are Wednesday at 1:30 p.m. and 7 p.m., Thursday at 7 p.m., Friday at 7 p.m., Saturday at 3 p.m. and 7 p.m., and Sunday at 1 p.m. and 5:30 p.m.

Paramount’s Stolp Island Theatre, 5 E. Downer Place, Suite G, in downtown Aurora, is surrounded by new restaurants and easy, affordable parking.

About Million Dollar Quartet

Paramount Theatre’s Million Dollar Quartet is like none before. Both the theater and the show were custom built as an immersive jukebox musical experience inside a replica of the original Sun Records studio in Memphis, Tennessee. There, on December 4, 1956, Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins recorded one of the most historic jam sessions in rock ‘n’ roll history. 

As soon as audiences step into the lobby, they find themselves standing right outside the Sun Records recording studio in Memphis, Tennessee, where they can take selfies astride a vintage motorcycle, view displays about the history of the play, and step up to the Taylor’s Good Food concession counter for affordable snacks and beverages.

They then walk through a replica of Sun Studio owner Sam Phillips’ office to enter a theatrical recreation of the actual recording studio, where music legends Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins came together to record one of the most historic jam sessions in rock ‘n’ roll history. The recording studio is lined on two sides with just 98 seats, where audiences are treated to a personal, intimate, one-of-a-kind live musical theater experience, fully immersed by amazing talent and the dazzling production values audiences have come to expect from Paramount.

The production is anchored by incredible, up-close live performances of some of the best songs in rock ‘n’ roll history, including “Blue Suede Shoes,” “Folsom Prison Blues,” “I Walk the Line,” “Hound Dog” and “Great Balls of Fire.”  As a result, audiences, including repeat ticket buyers, can’t get enough of this radically unique restaging of one of the most popular jukebox musicals of all time.

“This exuberant new take really is all about trying to include the audience in the jam session” wrote the Chicago Tribune’s Chris Jones, calling out Million Dollar Quartet as “another example of how much the success of the nonprofit, audience-focused Paramount has transformed the center of Aurora into a live entertainment destination.” Dean Richards, WGN-TV/AM, said his experience was “like stepping into Sun Records where one special night took place." 

Casting for the return of Million Dollar Quartet in March is TBA.

The original production inaugurated Paramount’s new Stolp Island Theatre in July 2024, and has since been extended three times due to popular demand. Directors Jim Corti and Creg Sclavi worked with a “million dollar” production team including Kory Danielson, music director; Jeffrey D. Kmiec, scenic designer; Matt Guthier, costume designer; Greg Hofmann, lighting designer; Adam Rosenthal, sound designer; Mike Tutaj, projections designer; Katie Cordts, wig, hair and makeup designer; and Jonathan Berg-Einhorn, properties designer. The book for Million Dollar Quartet is by Colin Escott and Floyd Mutrux. Original concept and direction by Floyd Mutrix. 

Verano, a leading cannabis company that operates Zen Leaf dispensaries in Aurora and across Chicagoland, is Venue Sponsor for Stolp Island Theatre. Old National Bank is Marquee Sponsor for Million Dollar Quartet.

About Paramount Theatre

Paramount Theatre, 23 E. Galena Blvd., is the center for performing arts in Aurora, the second largest city in Illinois. The beautiful, 1,843-seat theater, graced with a strong 1930s Art Deco influence and original Venetian décor, nationally known for its high-quality productions, superb acoustics and historic grandeur, has been downtown Aurora’s anchor attraction since 1931.

Since launching its own Broadway Series in 2011, Paramount has amassed more than 40,000 subscribers, making it the largest subscription house in the U.S.

Paramount Theatre is one of five live performance venues overseen by the Aurora Civic Center Authority (ACCA) in downtown Aurora. ACCA also programs and manages Stolp Island Theatre,
5 E. Downer Place, Suite G, where its wildly acclaimed immersive production of Million Dollar Quartet has been running for more than a year; the 165-seat Copley Theatre, at 8 E. Galena in the North Island Center; the Paramount School of the Arts; and RiverEdge Park, 360 N. Broadway, downtown Aurora’s outdoor summer concert venue and home to Christkindlmarket Aurora. 

Paramount Theatre is overseen by Tim Rater, President and CEO, Aurora Civic Center Authority; Jim Corti, Artistic Director, Paramount Theatre; a dedicated Board of Trustees and a devoted staff of live theater and music professionals.

For the latest updates, visit ParamountAurora.com or follow @paramountaurora on Facebook and Instagram, and Paramount Theatre on LinkedIn.

Million Dollar Quartet Christmas brings the legends back together - Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins - for a high-energy holiday jam at Sun Records in Memphis, Tennessee. Packed with rock 'n' roll hits and festive favorites, this jukebox musical delivers a nostalgic blast of seasonal cheer. Now staged in the round at Marriott Theatre, it’s a toe-tapping celebration you won’t want to miss.

This thrilling holiday musical whisks audiences back to December 4, 1956, inside Memphis’s iconic Sun Records studio, where the birth of rock ‘n’ roll gets a festive twist. Framed as a lively holiday reunion of Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins, the show plays like a jukebox time capsule - glittering with tinsel, rhythm, and seasonal joy. The studio glows with holiday charm - garlands strung, mistletoe dangling, and a decorated tree tucked in the corner - as four rock ‘n’ roll legends reunite to trade stories, revisit Christmases past, and muse about the road ahead. Their banter is light, their bond electric with nostalgia, and every song reverberates with the unfiltered energy of icons at the height of their powers.

Framed as a rockin’ ride through Christmas past, present, and future, the show fuses tender reflections with turbo-charged takes on holiday favorites and golden-age rock hits. Each legend infuses the stage with their signature sound, transforming timeless tunes into pulse-pounding celebrations of the season - and the rebellious heart of rock ‘n’ roll.

Million Dollar Quartet Christmas at Marriott Theatre ignites the stage with a high-voltage blend of rock ‘n’ roll swagger and holiday spirit. Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins deliver powerhouse performances that showcase their iconic styles while wrapping the season in nostalgic charm. Alongside the show’s signature hits, audiences are treated to festive favorites like “Blue Christmas,” “Santa Claus Is Back in Town,” “Boogie Woogie Santa Claus,” “Run, Rudolph, Run,” “God Rest Ye Merry Gentlemen,” and a rollicking mashup of “Rockin’ Around the Christmas Tree” and “Jingle Bell Rock.”

This cast doesn’t just shine - they explode off the stage. Million Dollar Quartet Christmas blazes to life with a powerhouse ensemble that doesn’t imitate rock ‘n’ roll royalty—they channel them. With razor-sharp musicianship, magnetic charisma, and a sleigh-load of seasonal swagger, these performers ignite a musical storm that’s both heartwarming and high-octane. It’s not just a performance - it’s a full-blown holiday revival of rhythm, soul, and rock ‘n’ roll cheer.

Let’s raise the curtain on this extraordinary cast - each performer a vital spark in the blazing brilliance of Million Dollar Quartet Christmas.

JP Coletta plays Jerry Lee Lewis and detonates onto the stage with a performance that’s equally volcanic and virtuosic. From the moment his fingers hit the keys, it’s clear we’re in for a wild ride: he attacks the piano with manic glee and devilish precision, channeling the raw, unfiltered spirit of rock’s original wild child. Every note ricochets with rebellion, every flourish drips with swagger, and every sideways grin feels like a wink to chaos itself. Coletta’s portrayal is a masterclass in musical mayhem - blistering, magnetic, and utterly irresistible. By the end, the piano’s smoking, the audience is beaming, and the ghost of Jerry Lee is surely somewhere backstage, grinning in approval.

As Carl Perkins, Trevor Lindley Craft brings a cool, soulful swagger, anchoring the show with crisp guitar licks and vocals laced with rockabilly grit. He’s the ensemble’s steady heartbeat - cutting through the chaos with finesse, style, and a quiet confidence that keeps the rhythm grounded. Whether trading riffs or harmonizing with the quartet, Craft exudes the kind of understated charisma that lets the music speak volumes.

Michael D. Potter steps into Johnny Cash’s boots with quiet power and commanding presence. His voice rolls in low and steady, like distant thunder on a Tennessee night, and his portrayal hums with authenticity. Potter doesn’t overplay the legend - he funnels him, letting the stillness between notes carry as much weight as the music itself. Stoic yet stirring, he draws the audience in with a magnetic gravity that feels both timeless and true.

Colton Sims doesn’t just impersonate Elvis Presley - he inhabits him with velvet vocals and hip-shaking bravado along with a gaze that could melt vinyl. From his first entrance, Sims radiates the kind of stage command that made Elvis a cultural phenomenon. His voice smolders, his movements sizzle, and his charisma is pure dynamite. It’s a performance that balances swagger with sincerity, capturing the King in all his electrifying glory.

As Elvis’ girlfriend Dyanne, Teah Kiang Mirabelli is a revelation. She infuses the stage with elegance, wit, and vocal brilliance, elevating every scene she’s in. More than just a supporting role, Mirabelli brings emotional depth and radiant charm, offering a counterpoint to the testosterone-fueled jam session. Her solos soar with precision and passion, and her presence adds a layer of warmth and complexity that rounds out the show’s dynamic pulse. Mirabelli is especially adorable during her cute, mandolin-playing Hawaiian themed number “Mele Kalikimaka”.

Ross Griffin grounds the show with quiet intensity as Sam Phillips, the visionary behind the music and the man holding the emotional reins. His performance is taut, urgent, and deeply human - a portrait of ambition, loyalty, and the weight of legacy. Griffin narrates the story; he lives in its tension, embodying a producer torn between past glories and future dreams.

Rounding out the ensemble with flair and finesse are Jed Feder as Fluke and Cody Siragusa as Brother Jay. With razor-sharp timing, rhythmic fire, and a dash of comic mischief, they keep the backbeat tight and the energy sky-high. Whether laying down grooves or landing punchlines, they’re the unsung heroes who make the whole jam session sing.

Together, this cast absolutely ignites. Every note, every gesture, every glance is charged with passion, precision, and holiday joy. It’s a Christmas musical miracle wrapped in tinsel and rock 'n' roll. The actors’ live musical performances - executed with impressive skill - infuse the production with an electrifying energy. With guitars in hand, a stand-up bass thumping, and drums driving the rhythm, the stage often pulses with the raw excitement of a live concert.

Under the spirited direction of Scott Weinstein, this holiday edition of Million Dollar Quartet strikes a joyful chord between festive fun and nostalgic reverence. Weinstein orchestrates the production with a keen sense of pacing and emotional texture, allowing the show to glide effortlessly from quiet, intimate moments to full-throttle rock ’n’ roll revelry. Whether it’s a tender ballad shared under the glow of Christmas lights or a raucous jam session that rattles the rafters, each scene is staged with precision, heart, and a wink of holiday mischief. The result is a dynamic, feel-good celebration that honors the legends of Sun Records while wrapping the audience in the warm glow of seasonal spirit.

Before the curtain rises, treat yourself to a festive feast at Embers Christmas Grille, the seasonal pop-up nestled inside the Lincolnshire Marriott Resort - just steps from the theater. Offered Wednesday through Friday, this holiday dining experience features a three-course prix fixe menu for $49 per person, served with a generous helping of cheer. Each dish is playfully named and thoughtfully crafted, blending seasonal inspiration with upscale comfort. With options spanning beef, chicken, and fish, the menu offers a whimsical twist on traditional holiday fare - perfect for theatergoers looking to savor the spirit of the season in style.

Million Dollar Quartet Christmas is holiday fun at its fullest.

Highly recommended.

For tickets and/or more show information, visit https://www.marriotttheatre.com/show/million-dollar-quartet-christmas.  

As twinkling Christmas lights return to Michigan Avenue and holiday themed bars pop up in trendy neighborhoods, Chicagoans are kicking off their pre-winter days by flocking indoors. Fortunately for us, Chicago theatre continues to deliver an exceptional lineup of classic holiday favorites and new ingenues hoping to become a staple in the cold winter months. One such production is “Christmas With Elvis” by Terry Spencer Hesser, directed by Dexter Bullard playing at the charming Chopin Theatre.

“Christmas With Elvis” tells the story of a lonely, anxious and slightly angry woman who discovers, on Christmas Eve, that her ex-husband is getting remarried. Before she can indulge in her misery, the very dead and not too debauched ghost of Elvis Presley appears in her apartment. The two-person cast features Brenda Barrie (Trudy) and Victor Holstein (Elvis).

The premise of “Christmas With Elvis” is captivating; a lonely woman with a bevy of mental and physical health issues puts on an old vinyl record, Elvis crooning “Are you Lonesome Tonight.” Answering the vinyl record, she soon gets to answer Elvis, the King, in person as he appears in her Chicago apartment. After getting past the initial shock, both characters begin to share their feelings as they unpack what brought them to that moment on Christmas Eve. As wonderful as the premise it was, the play itself had some consistency issues with the character development. Trudy is plagued with a bevy of health issues from anxiety to alcoholism to an eating disorder. With so many issues, it struck me as odd that when Elvis questioned Trudy about what an eating disorder was, she replied crudely with “it’s a diet that works.” It wasn’t the fault of the actor, it was just dialogue that didn’t quite fit. In the same first act, Elvis chastises Trudy by telling her he didn’t drink as much in life as she claimed, only to turn around and order an entire case of Jack Daniels to be delivered along with eleven dominos pizzas for them to eat. Little lines and moments like this pull you out of the magical moment, quaking your eye at the oddity of the dialogue. The starkest example of this was at the end of the first act, Trudy admitting to Elvis she wasn’t a huge fan of his music, even when he was alive, as Elvis flips down her couch into a bed. The scene moves rapidly to Elvis crooning out some of his biggest hits to Trudy, while Trudy writhe like a sixties Elvis fan, driving herself to orgasm as the doorbell rings with their delivery.

There were some incredibly tender and raw moments of dialogue between Trudy and Elvis, Barrie and Holstein had a real chemistry that was palpable throughout the two actor’s time on stage. Holstein had incredible vocals and truly captured the King’s mannerisms and cadence, even if it were a bit stereotypical. From the moment Barrie walked onto the stage she commanded your attention, able to portray a woman alone in her apartment, admittedly not in her finest moments or appearance. She played a lonely and broken woman, finding solace with an icon and the simplest of Christmas lights. The characters Hesser created could have really driven deep into the parallels the characters had, gone deeper into the concept of loneliness. It was noted in the playbill that someone “did not understand Elvis until they got divorced,” indicating it took a certain mindset and mood to really understand the sadness, love, and loneliness captured in Elvis’ music. While that was the prevailing theme of the play, some of the attempts at sarcasm and levity fell flat or fell back on commonplace language and stereotypes, when the material and premise offered and promised more.

Overall, Barrie and Holstein were an incredible duo to watch. Holstein’s renditions of "Love Me Tender", "Don't", and “Blue Christmas” felt like you were listening to Elvis incarnate, and Barrie is a Chicago talent that will have a long and prosperous career ahead of her. For a magical night out, “Christmas with Elvis” is a dramedy with a lot of potential, promising to, at least for the evening, stay off the blues during this Christmas season.

“Christmas With Elvis” is now playing at the Chopin Theater, 1543 W. Division, Chicago through January 7. For tickets, visit www.Chopintheatre.com.

I must admit, I knew nothing about Marie Knight or Rosetta Tharpe. It went over my head when they made an appearance in the critically acclaimed movie “Elvis”. Baz Luhrmann’s inclusion of Rosetta Tharpe and Marie Knight during the Club Handy scene with the likes of Elvis, BB King and Little Richard spoke volumes of her place in music history. Not only was Rosetta Tharpe a major influence on Elvis Presley, Jimmy Hendrix and Johnny Cash but the gospel guitarist practically discovered Little Richard, bringing him on stage for his first performance. “Marie and Rosetta” documents their lives together with a rousing, heartfelt production at Northlight Theatre.

It is 1946, Rosetta Tharpe is an explosive gospel singer and R&B performer,. After hearing Marie Knight sing, she tries to get the ingénue to create an act with her. “Sister” Rosetta needs Marie’s holier than thou credentials to “get back in the church folks’ good graces”. Her brand of gospel is infused with R&B and electric guitar riffs. She is a popular nightclub act and just as righteous as Mahalia Jackson, she just likes R&B. Marie Knight, on the other hand, is a traditional gospel singer with a powerful angelic voice. She is in awe of the older, popular Tharpe, but is unsure of the worldly music Tharpe calls gospel. This is their first rehearsal on the day of their first performance so naturally things must be sorted out before a duet can be made.

Playwright George Brant has done his research for this play with music, yet he hasn’t created a jukebox musical. There is a clear story being told here and the music is a bonus. Although, the play is heavy on exposition, it tells the beautiful relationship between these women and their influence on the music world. It is thought Marie and Rosetta’s relationship extended beyond the stage. Brant doesn’t straightwash this story. He has handled their relationship with the utmost respect. Brant does an interesting writing trick. It would be unfair to reveal it, but it has been on my mind since I saw the show. Brant has used spiritual songs like “This Train” and “Didn’t Rain”, as well as worldly songs like “I Want A Tall Skinny Papa” and “4 - 5 Times” to keep things hot.

E. Faye Butler is making a name for herself as a director. She is fresh off “Five Guys Named Mo”, a co-direction assignment with Felicia Fields at The Beverley Arts Center. It was excellent. Here, Butler is challenged with giving these characters emotional depth equal to their amazing voices. Challenge met. Butler has raised the stakes between these two women without losing the love and respect they had for each other. Their movements were instinctual, their emotions palpable.

This play is heavily dependent on excellent actresses. Not only must they sing well but they must be able to portray characters long gone from the collective psyche. Making these characters real was no easy task. Alexis J. Roston and Bethany Thomas by themselves knock your socks off, together they are a force of nature. They both engage us with their very different singing styles. Roston blesses the heavens with her symphonically precise tones. Thomas is like a hurricane, belting out the blues in all it’s various hues. They are accompanied offstage by Morgan E. Stevenson on piano and Larry Brown on guitar.

John Culbert’s scenic design coupled with the lighting design by Jared Gooding will be the subject of conversation for a while. McKinley Johnson’s costume design played a significant role. It’s always wonderful when set, lights and costumes enhance the characters presence and add depth to the overall production. Florence Walker-Harris is a joy, and her assistant director credit makes a wonderful show even more wonderful.

This play is highly recommended. Thank you Northlight Theatre for remembering these forgotten icons. You will leave the theatre joyful, filled with the knowledge of a rock and roll icons making a joyful noise to the Lord.

HIGHLY RECOMMENDED

When: Through August 6, 2023

Where: Northlight Theatre, 9501 Skokie Blvd.

Running time: 90 minutes

Tickets: $30. - $89 Student tickets $15.

Contact: northlight.org.

*Extended through August 13th

I've seen a lot of Elvis Tribute Artist shows over the years and have enjoyed them all. They’re nostalgic and fun and, while some are better than others, they are always a good time. And I really love the fact that there always seems something unique in each artist that makes them special in their own way. Brandon Bennett (of Chicago's MILLION DOLLAR QUARTET) is no exception when he wowed audiences for two nights at Marriott Theatre in Lincolnshire in ‘Elvis My Way’ where the headliner performed sweet, charming and soulful versions of Elvis's classic hits in chronological order. Bennett was accompanied by two excellent backing singers and a terrific four-piece band. 

From “Blue Suede Shoes,” “Can’t Help Falling in Love,” "That's Alright Mama," and 
“Suspicious Minds”, the talented Elvis Tribute Artist (ETA) performed many fan favorites and a few that were a bit more personal to Bennet himself.

Every artist has their own take on Elvis and often chooses one of the Elvis age ranges to play based on their own looks and age, but this was the first time I really felt the sweetness and calm comforting side of Elvis performed for an entire show. Bennet connected with the audience and often told interesting stories between songs – a few I’ve never heard, like the fact “Kentucky Rain” almost became an Eddie Rabbit (author) song instead of the well-known Presley anthem we’ve all come to love.

Bennett, who has made featured television appearances on The Late Show with David Letterman, NBC Nightly News, and was named "Ultimate Elvis tribute Artist by Elvis Presley Enterprises at Graceland,” mentioned that he had personally suffered through the death of a child and made the audience feel they were really sitting in on a private, intimate performance with The King. The song he sang to his late son to get him to fall asleep was none other than “I Can’t Help Falling in Love (with You)”. His performance of that number was extremely heartfelt, and it while it was hard not to feel what he must have gone through, we also got a glimpse of how the music of Elvis has touched so many.    

Brandon apologized on a couple of occasion for unforeseen vocal issues, but I thought he sounded amazing regardless and would not have guessed his voice was not up to Bennet’s usual standards. In all, Bennet puts on one hell of a show that we can take home with us in our memories for some time.   

With the new Elvis biopic stirring up new interest in Elvis's genius for a whole new generation, this is a great time for Brandon Bennett to be in the prime of his life with a wonderful, funny, heartfelt show that I highly recommend for all ages. 

You can learn more about Brandon Bennet in "Elvis My Way' here. 

One could only picture what would have happened should four of the greatest rock and roll pioneers ever step foot in the same studio at the same time. And just imagine if the above referenced were Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. Well, one winter afternoon in December of 1956, that’s exactly what occurred when these four music trendsetters met unexpectedly at Sun Records in Memphis, Tennessee. Though no one outside of Jerry Lee Lewis himself (only living participant) really knows all the details of what happened during that meeting, most are quite certain a jam session like no other took place, later earning the four the nickname “The Million Dollar Quartet”.

Currently playing at Theater at the Center in Munster, Indiana, ‘Million Dollar Quartet’ brilliantly takes its audience into Memphis’ Sun Records studio where it combines theatre with a truly entertaining rock and roll show. Filled with jaw-dropping singing and instrumental feats, ‘Million Dollar Quartet’ beautifully conveys the excitement of mid-1950’s rock music while at the same time providing audience members with a good feel for the time period itself. It is no wonder this show is already a timeless classic.

Finely directed by Daryl Brooks, ‘Million Dollar Quartet’ does not require elaborate set changes, taking place entirely in a recording studio (Sun) converted from an auto parts store. The show makes its mark as one of the hottest shows on stage thanks to its amazing musical performances, well-defined characters and a storyline that perfectly delivers the enthralling supposition of “What could have been?” The story also points to the importance of Sun Records and their impact on the music world, mainly owner Sam Phillips (superbly played by Sean Fortunato) and his ability to recognize and shape the talent of each recording artist, by having them reach inside themselves. The man was simply a musical genius. But Sun Studios is a small, two-man operation and it is inevitable that each of these great artists will one day outgrow Mr. Phillips distribution and marketing ability and look to hop on larger, well-established labels.

What contributes greatly in making ‘Million Dollar Quartet’ so special is the incredible cast they managed to assemble. Not only does Theater at the Center’s cast deliver the personality traits and behaviors of each, from Jerry Lee Lewis’ dancing eyebrows to Elvis’ sneers and unique body language from the waist down, but it is each actor’s ability to convincingly sing and play as their character that takes this show to a much higher altitude.

At times, Michael Kurowski literally makes the audience forget they are not watching the real Jerry Lee Lewis thanks to his maniacal style of piano playing intertwined with the showmanship that helped the rockin’ pianist become famous. Zachary Stevenson’s sizzling guitar licks and strong vocals makes a highly believable Carl Perkins (you might remember Stevenson from his outstanding performance as Buddy Holly in American Blues Theatre’s ‘The Buddy Holly Story’), while Thomas Malouf nails Johnny Cash with spot on singing and his ability to capture his live qualities. Zach Sorrow, who first stuns the crowd with his accurate rendition of “That’s All Right” and then later seals the deal with a classic performance of “Hound Dog,” plays Elvis Presley. Together they are a force. The cast is rounded out by studio session players Fluke (Nick Anderson) on drums and Jay Perkins (Michael Sinclair) on bass who present a show worth watching in their own right. Aeriel Williams stuns as Elvis’ girlfriend Dyanne who joins in the all-star jam session with a couple songs of her own including an inspired version of “Fever” that really shakes the house.

‘Million Dollar Quartet’ starts off with a bang with “Blue Suede Shoes” and then continues to highlight memorable songs from each performer including “Folsom Prison Blues,” “Who Do You Love,” “Great Balls of Fire,” “Peace in the Valley” and many more. A good mix of concert and theatre, this is a show that is heartfelt, entertaining and sure to leave a lasting impression - not to mention have many searching through their record collection when they get home. This is a show that captures its audience within the first minute, embodies rock n’ roll fun throughout and ends on a high note with its dynamic ending as a show featuring Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis should.

‘Million Dollar Quartet’ is currently playing at Theater at the Center through March 31st. For more information visit www.TheaterAtTheCenter.com.

Just imagine if you could be a fly on the wall during that infamous night when four legendary stars of rock and roll - Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis got together for one epic night at Sun Studios. That historic meeting had the young stars playing a variety of songs together while they shared their private sorrows and triumphs. Put it all together and you have the long-lasting recipe for success of the hit show "Million Dollar Quartet". Marriott Theatre is currently hosting the hit musical that actually plays more like a concert at times. 

Director James Moye uses the lovely theater’s in the round setting to create a new fresh and energetic staging of this show that will perk you up and make you feel the "sun" that must have been radiating out of the historic Sun Studios on December 4th, 1956 when these four young stars really did gather there to play on the same day. 

'"Million Dollar Quartet” is really an ensemble piece where all four lead characters also get a chance to shine individually during the course of the show. 

I have seen the show several times and even though these actors are playing monolithic stars and their memorable hit songs - each cast is totally unique. 

In this production Johnny cash played by Christopher J. Essex shines out as the best voice for Johnny Cash. Essex's deep rolling singing tones and gentle giant presentation are spot on and form an anchor for the entire cast to stay true to the singer they are portraying. Rustin Cole Sailors plays a nice, sensitive youthful Elvis and Shaun Whitley busts out with an excellent, rocking portrayal of Carl Perkins - blazing guitar playing and all. Marriott regular Laura Savage also impresses as Elvis’ girlfriend Dyanne, especially in her saucy rendition of “Fever”. Bassist Zach Lentino who play’s Carl’s brother Jay and Kieran McCabe who mans the drums are also a ton of fun to watch. 

But the real standout in this production comes from Nat Zegree as Jerry Lee Lewis. Zegree whose program biography states that he has played the role 350 times, is an animal in the role, prowling the stage and riding the piano like a tiger on speed. Zegree never loses sight of the brilliance of Jerry Lee Lewis piano chops and his ahead of his time, sexually charged rock and roll energy.  Zegree is a dancer, you can see that every step he takes, even while doing a headstand while continuing to batter the keys with ferocity and accuracy.

I've seen other actors play this role, but Zegree's interpretation and performance and piano playing is best I have seen. I imagine it must be difficult for an actor so multi-m talented to show off ALL of his talents in any other role. 

The show isn’t all rosy with four musical legends playing an impromptu one-night engagement. The story also delves into what an impact studio owner Sam Phillips (David Folsom) had on each of them – and how Presley, Cash, and Perkins outgrew the local music studio opting to go with big record labels like Columbia. Worry not, Phillips will be the first one to tell you he made out quite nicely.

A hearty soundtrack of favorite rock and roll classics light up the stage during the 100-minute play – toe-tapping hits such as “Blue Suede Shoes,” “Walk the Line,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Folsom Prison Blues” and “Whole Lotta Shakin’ Goin’ On.”

I thoroughly enjoyed the entire cast and every number in this exciting, inspiring show which was perfectly timed for the "dead of Winter" here in Chicago to warm up sleepy audiences. Zegree's showstopping, prodigy-like talents and explosive energy is a performance I will remember for a long time and makes this already great production one of the "must see" shows of the season. 

Highly recommended.

“Million Dollar Quartet” is being performed at Marriott Theatre through March 16th. For more show information visit www.marriotttheatre.com.