“Heartbreak Hotel” premiere uncovers 18 pivotal months for Elvis Presley

Photos provided by Brett Beiner

Out of the countless movies, books, albums and tourist trinkets relating to Elvis Presley, few hyper-focus on the 18-month period in the mid-1950s that was probably the most pivotal of his entire career. But that’s exactly where “Heartbreak Hotel” aims, a prequel of sorts to the blockbuster “Million Dollar Quartet” from writer/director Floyd Mutrux that finds the truck driving twenty-something transitioning to the world of Sun Records and the rockabilly-coining Sam Phillips to the ruthless managerial clutches of Colonel Tom Parker and a big budget contract with RCA.

Along with the less commonly told narrative and the multitude of mega-tunes themselves, “Heartbreak Hotel” can easily stand toe to toe with its predecessor and is likely to have just as long of a shelf life.

Whereas so many stories focus on the sequin-wearing superstar, this bittersweet tale traces Presley’s humble roots as he gradually comes out of his shell, hip-swiveling (but only getting shown from the waste up) on “The Ed Sullivan Show” and becoming international eye and ear-candy within seconds. However, the fame of national television, sold out shows and eventually movies cause its main man to leave so much behind, from the basics of a common person’s privacy to his pre-Priscilla love interest Dixie Locke.

Though it’s easy to root for this underdog as it climbs the ladder of the entertainment industry, “Heartbreak Hotel” indeed echoes its title on so many sobering levels. Beyond those more obvious personal sacrifices as Presley gets pulled in multiple directions, he’s charged with borrowing a bit too heavily from soul music and being a focal point of race-related tensions.

To illustrate that point, “Heartbreak Hotel” references a few protests, alongside the brighter notes of B.B. King, Chuck Berry, Sister Rosetta Tharpe and other muses, but its main man didn’t get crowned the “King Of Rock And Roll” for nothing and that title is quickly justified. Classics such as “That’s All Right,” “Blue Suede Shoes,” “Don’t Be Cruel” and “Hound Dog” are plucked from Presley’s early era, and while it’s impossible to fit the entire goldmine of material that came after, an encore is satisfying enough to get everyone “All Shook Up” while dancing to the “Jailhouse Rock.”

As for lead actor/artist Eddie Clendening (from Broadway’s “Million Dollar Quartet”), he’s fully invested and authentic in the portrayal, which considering Elvis impersonators are a dime a dozen, is quite the fortunate find. Along with the less commonly told narrative and the multitude of mega-tunes themselves, “Heartbreak Hotel” can easily stand toe to toe with its predecessor and is likely to have just as long of a shelf life.

“Heartbreak Hotel” continues at the Broadway Playhouse At Water Tower Place through Sept. 9. For additional details, visit BroadwayInChicago.com.