KALAMAZOO–On Dec. 4, 1956 Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley came together for an epic jam session at Sun Studios in Memphis, Tennessee.

Sixty years later, nearly to the day, Farmers Alley Theatre recreated the event with their opening of the feel-good jukebox musical Million Dollar Quartet that celebrates the early days of rock and roll history with a blend of theatrical narrative and rock concert spirit.

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The success of this show can be measured by how quickly the audience behaves as if they’re rocking out alongside these legends. On opening night, despite impressive and downright Herculean efforts by the cast,especially Nat Zegree as Jerry Lee Lewis, this never quite happened. That’s not to say with a more responsive audience they won’t, though the withdrawn proscenium of The Little Theatre keeps the distance between performer and audience real. Even though audience members were invited to talk back, sing along, and otherwise interact with the performers, opening night never quite transcended its status as a play.

And yet this production puts together a talented cast who effectively capture the historic figures, their enormous talent, as well as their not insignificant conflicts and shortcomings.

The music balances a handful of each man’s respective hits with a few spirituals and some soulful and sexy love songs for the token woman performer. The arrangement, by Chuck Mead, beautifully supports Floyd Mutrux and Colin Escott’s story’s rhythm and shape.

Director Scott Moreau’s stunning bass makes for a convincing Johnny Cash. Steady and brooding, he’s an outstanding singer. His rendition of “Folsom Prison Blues,” “I Walk the Line,” and “Sixteen Tons” are riveting. Both his presence and voice are the anchor to the show.

Josh White plays a warm and affable Elvis, and embodies him in dance and movement more than physicality and voice. It works.

Hannah Hesseltine plays his girlfriend as more librarian or church lady than sultry soul singer. Her role on stage is somewhat distracting, though her voice is pleasant.

Nat Zegree’s Jerry Lee Lewis borders on unhinged, and he inspires great laughter with his acrobatic piano playing—leaping and sliding over it; playing with his feet and while bent over backwards, to name a few of his delightful antics that easily call to mind Lewis’s wild personality and performances. His is the biggest and best role in the show, and he pushes it to caricature levels while also playing a mean tune. He doubles as the show’s music director and pulls the songs and performances together beautifully.

Another astounding musician is Snake Osburn as Carl Perkins, father of rockabilly, known for innovative guitar playing such as creating an echo sound without any reverb equipment. Osburn’s licks are truly inspired. His Perkins is relatively laid back while remaining pissed off that Elvis stole his thunder under Sun Studios Founder Sam Phillips’ watch, but he’s the shining star with what appears to be a Gibson Les Paul Goldtop electric guitar.

Kyle Jurassic’s Sam Phillips is more angry than charming, and though he’s a fine narrator, patiently connecting with the audience, his magnitude as the man who discovered and created these men and the music that defined the second half of the 20th Century and beyond, falls short.

But together these six performers (along with Matt Smalligan on drums and Max Bezanson on bass) are more than the sum of their parts. Their harmonies in “Down by the Riverside” speak to the depth of emotion during this tumultuous time of change, and they create a sense of occasion in this recording session that went down in history.

And ultimately, they bring their all to the finale with an important set change—from studio to concert stage—designed beautifully by George Eric Perry, with added flair in costumes (Sarah Maurer), and bold lighting from Jason Frink.

With their commitment, energy, and all the technical support they need, it should bring the audience to their feet. And perhaps the audiences who, by and large adore this show, will in the coming sold-out shows and added dates match the energy of the performers and more expressively show their love.

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