Booked & Scene

When Elvis Met the Beatles imagines the legendary 1965 meeting between the King of Rock and Roll and the Fab Four. With a book by Colin Carberry and Glenn Patterson (based on Christopher Hutchins and Peter Thompson’s book Elvis Met the Beatles) and direction by Hunter Foster, the musical dives into the lead-up and aftermath of that night. The show follows Chris Hutchins, the journalist who helped orchestrate the encounter, while exploring the tensions, rivalries, and admiration between two of the most famous acts in music history. It’s part dramatization and part behind-the-scenes look at what happens when egos, artistry, and legacy collide.

Can’t Help Falling into Character

The five central performances truly drive the show. Watching the actors embody these iconic figures was a highlight—especially because so many of them played their own instruments live onstage. This detail added a striking level of authenticity that made it feel less like imitation and more like revival.

Daniel Durston’s Elvis Presley commanded the stage. Audience reactions made it clear he was nailing his performance, but his most powerful moments came in flashes of anger—whether sparring with Priscilla (Bella Serrano) or clashing with John Lennon (Sam Sherwood). His sharp edges rang truer than his smooth ones.

The Beatles foursome brought undeniable charm and energy. Jed Feder’s Ringo Starr and Serrano’s Priscilla shared a gentle act two duet that stood out for its intimacy and quiet connection. John Drinkwater made George Harrison the slyly funniest Beatle, with sharp comic timing that lifted scenes. Sam C. Jones’ Paul McCartney felt perfectly cast—his steadiness a strong counterpoint to Sherwood’s fiery John Lennon. Together, they recreated a dynamic that felt real and alive.

With a Little Help From My Friends

Dan De Luca as Chris Hutchins was the standout of the evening for me. Serving as narrator and constant presence, he balanced warmth, wit, and emotional depth, guiding the story without ever overstaying. His scenes with Kaitlyn O’Leary’s Pam were some of the sharpest, her deadpan delivery leaving a lasting impression despite limited stage time.

Steven Telsey’s Brian Epstein also deserves mention. He held his ground managing the Beatles with both charm and subtle gravitas. His scenes opposite De Luca often caught my eye for their expressive detail and layered rapport.

Here Comes the Set

Klara Zieglerova’s scenic design was a triumph. The two-level structure maximized the stage’s potential, and its simplicity allowed the story to shift locations smoothly. John Narun’s projections elevated it further, seamlessly weaving images across levels so that characters in different spaces seemed to look out into their own worlds.

And of course, the music was a win. Christopher D. Littlefield’s music direction shone in moments when actors picked up guitars, sat behind drums, or leaned into a mic with full-bodied sound. Watching performers embody these legends while also playing their music live gave the show its biggest thrill.

A Hard Day’s Night

As exciting as the concept is, the structure has some problems. The title suggests we’ll see Elvis and the Beatles together, yet they don’t meet until the very end of Act One. At nearly 2 hours and 40 minutes, the pacing drags and the show could benefit from trimming.

The sound design (Kevin Heard) also worked against the production at times. Musical numbers were turned up so loud that I found myself wishing for earplugs. Instead of evoking a stadium thrill, it overwhelmed and distracted. Add in moments of muddled diction—especially from Elvis and the Beatles—and lyrics sometimes got lost.

Finally, the ending blurred the line between theater and concert. As the finale unfolded, the audience turned into a crowd at a rock show: standing, clapping, even singing along. While some loved this, I found myself questioning whether this was the intended experience. Without clearer direction, it felt less like a climactic finale and more like audience confusion.

Love Me Do (Or Don’t)

As someone in her 30s without a personal connection to either Elvis or the Beatles, this musical wasn’t built for me. But it was undeniable how much older audience members adored it. I watched couples holding hands, toes tapping, and entire rows springing to their feet after numbers. For fans who lived through these eras, or grew up with this music in their homes, this show delivers a nostalgic, joyful ride.

Even with its flaws, When Elvis Met the Beatles succeeds in bringing these legends back to life for a night. With strong performances, stunning design, and a finale that (intentionally or not) turns the theater into a concert hall, it’s a show that knows its audience. If you grew up on Elvis or the Beatles this one’s for you. When Elvis Met the Beatles runs through September 27 at Ogunquit Playhouse.