Hot ticket: Metropolis’ rafter-rattling ‘Million Dollar Quartet’ worth every penny

“Million Dollar Quartet” — 4 stars

Music and theater fans who are considering attending Metropolis Performing Arts Centre’s marvelous “Million Dollar Quartet”: Get your tickets now before it’s too late.

Director Michael Rader’s excellent revival, featuring an outstanding ensemble of actor/musicians, is 90% sold out, according to executive director David Victor.

As Sunday’s matinee came to a close, the near-capacity crowd responded with thunderous applause to the finale, an irresistible combination of Jessie Mae Robinson’s “Let’s Have a Party” and “Great Balls of Fire,” the Otis Blackwell and Jack Hammer tune Jerry Lee Lewis made famous. Meanwhile, a dozen or so theatergoers headed for the exit.

“Don’t go yet,” I murmured, knowing they would miss the rafter-rattling coda — and the ecstatic double-shot of “See Ya Later, Alligator” and “Whole Lotta Shakin’ Goin’ On” — that concludes this premier jukebox tuner.

Another bit of advice: Stick around for the encore.

An homage to rock ‘n’ roll pioneers Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley — the titular quartet — “MDQ” is a fictionalized account of their impromptu meeting on Dec. 4, 1956, at Sun Records, the Memphis, Tennessee, record label founded by visionary producer Sam Phillips.

Conceived by Floyd Mutrux, with a book by Mutrux and Colin Escott and a score consisting of 22 songs by Cash, Perkins, Chuck Berry, Jerry Leiber and Mike Stoller, Arthur Crudup, and Little Richard, among others, “Million Dollar Quartet” premiered in Florida in 2006 and Washington in 2007. In September 2008, it opened at the Goodman Theatre, then transferred to the Apollo Theatre, where it ran seven more years. (The Broadway opening came in 2010.)

The show unfolds as an extended jam session on designer Shane Cinal’s ideally conjured Sun Studios set, which features gold records on the walls and — in a nod to the season — garland and Christmas lights framing the sound booth. Benjamin Carne also deserves mention for his moody lighting and the swirling concert-style effects that accompany the encore.

Phillips (fine work by the amiable, self-confident Eric K. Roberts), whose passion for music and savvy business sense earned him the title “father of rock ‘n’ roll,” narrates. Flashbacks recount Phillips’ initial meetings with “the boys,” who sparked rock 'n' roll’s revolution. The narrative then flashes forward to 1956, which proves a pivotal moment for the quartet and their mentor.

Carl Perkins (the terrific Joey Chelius), frustrated and resentful over Presley’s unintentional appropriation of Perkins’ “Blue Suede Shoes,” is at the studio to record what he hopes will be a follow-up hit. He’s accompanied by his brother Jay (Cody Siragusa) on bass and drummer W.S. “Fluke” Holland (Brian Johnson). Joining them, at Phillips’ suggestion, is newcomer Jerry Lee Lewis (a feisty, tousle-haired Austin Dean Shaw, whose limbs are never still), a galvanic pianist determined to become a star. Shaw’s Lewis deliberately riles Chelius’ Perkins, which makes for a deliciously antagonistic “Matchbox.” The swampy, propulsive “Who Do You Love?,” powered by dynamic rhythm duo Siragusa and Johnson, also impresses.

Dom Alesia, a bass-baritone whose glorious low notes raise the hair on the back of your neck, plays the conflicted Johnny Cash, who shows up with news for Phillips. Last to arrive is Elvis Presley (a vulnerable, fresh-faced Keegan Sells). Teasing the leg-shaking and hip-swiveling that would become the singer’s signature moves, Sells’ Presley delivers a crowd-pleasing “That’s Alright Mama.” Joining Presley is his girlfriend Dyanne (understudy Emily Holland, who turns in a torchy, sultry version of “Fever” in the first act and belts out “I Hear You Knocking” in the second).

Rader has assembled a cast of first-rate actor/musicians who put their primo harmonies to use on “Down by the Riverside.” Among them is Chelius. A fine singer and guitarist, he’s also a subtle actor, who poignantly plays the chip on Perkins’ shoulder and his lingering disappointment over what he perceives as Phillips’ lack of faith in him.

“You gave up on me,” Chelius’ Perkins tells Phillips, hurt evident in his voice.

Except for the overeager Lewis, melancholy underscores these characters: Alesia’s guilt-ridden Cash; Sells’ trusting Presley, already wary of his burgeoning fame; and Phillips, who cares more about making music than making money, but recognizes Sun Records can only take his artists so far.

Rader makes clear what’s at stake. With careers on the line, the reunion is fraught. The music biz is serious work.

Making music? That’s another matter. As ringing guitars, thumping drums, a slapping bass and waterfall piano runs commence, problems fade and what’s left is pure rock ‘n’ roll joy.

That’s “Million Dollar Quartet.”

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Location: Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights, (847) 577-2121, metropolisarts.com

Showtimes: 7:30 p.m. Thursday and Friday; 3 and 8 p.m. Saturday; 3 p.m. Sunday through Aug. 4. Also 2 p.m. July 25

Running time: About 2 hours, with intermission

Tickets: $45, $20 for students

Parking: Nearby garage and street parking

Rating: For most audiences