Holy Grail of Memphis

Timeless, sparkling, and significant, Michael Hollinger’s Holy Grail of Memphis was a delight to attend. The play made its world premiere at the Arden Theatre in Philadelphia on January 16th and concluded its successful, extended run today. I had the pleasure of attending this play with my parents, and I left the theatre feeling both hopeful and touched. (Spoilers ahead!)

The play is set in modern Memphis, but it constantly calls back to the (figurative and, dare I say, literal) ghosts that haunt us. It calls back to a time of significant inequality in the music industry, highlighting the oppression which Black musicians faced in the recording studio. That being said, Holy Grail of Memphis is also about legacy. It is not just about inequality half a century ago, but about how the unfair and lasting legacy of that inequality still impacts people today. We see how an unjust contract grants Newt ownership over Alfred “Deaf Duck” Mason’s music (or so he thinks), and that Newt is genuinely passionate about the music but also profiting from the privileges passed down from his grandfather. On the other hand, we see how hard Gigi works to gain ownership of the music which is rightfully hers and return it to her great grandfather, conflicting with Newt’s goal until the very end. Holy Grail of Memphis is not just a play about the tribulations of the past and present, though, but it is also a play about having hope and making real change. It is a play about togetherness, and consciously choosing to do the right thing to move towards a better, more united future. Although Newt proves to be difficult throughout the conflict between Gigi and himself, Newt learns the importance of Deaf Duck finally owning his own music, thanks to pushback from both Gigi and Derek. Together, the individuals at the recording studio are able to finally grant Mason the respect he deserves and set him free in a truly priceless moment of human connection.

In addition to the wonderful text itself, the performances were all stellar. Each actor completely embodied their role and displayed fully realized, developed characters. Fred Michael Beam, who played Alfred “Deaf Duck” Mason, added a charged energy to the stage and played the part beautifully. Moments between him and Kishia Nixon, who played Gigi Robins, were both hilarious and touching, inviting the audience to both think and feel. The performances were delightful all around and I saw a full picture of each character.

In my rapidly waning undergraduate education, I have been taught time and time again that empathy is the main reason why we create theatre (and all stories in general, for that matter). Taking another person’s story seriously, as Anne Bogart writes about in What’s The Story, is immeasurably important and connects us with other people and with ourselves. Holy Grail of Memphis exceeded at evoking empathy, and I was able to empathize greatly as I was thrown into the characters’ different worlds. I learned, felt, and had a great time doing it! I can’t recommend you to see this production at the Arden because it closed today, but I can certainly recommend you to look into Michael Hollinger’s works and to check out the Arden Theatre Company!

Photos by Ashley Smith; Featuring Kishia Nixon, Matteo Scammell, Newton Buchanan, Fred Michael Beam, Erin Malimban, and Mary Martello