DJ Alan Freed is traditionally credited with first using the term. Elvis Presley was called its king. Many along the way have tried to claim parentage. As it has been said, success indeed has many fathers. But in the history of the music that emerged from the blending of blues, country, and rhythm and blues, it is record producer Sam Phillips who rightly deserves the title of father of rock ’n’ roll.

Phillips produced what most music historians consider the first rock ’n’ roll record. While his name may not be as familiar as those of the performers he first discovered, however, one special night in Memphis, in the studio of his fabled Sun Records, cements his place in the annals of rock ’n’ roll.

“Million Dollar Quartet,” now playing at the Mahalia Jackson Theater for the Performing Arts, recreates that brilliant night of Dec. 4, 1956, when Carl Perkins, Elvis Presley, Johnny Cash and a young upstart named Jerry Lee Lewis all gathered at the Sun studio and just started jamming. It was the only time these four would ever perform together.

Featuring a series of virtuoso performances – in which the actors are all playing their own instruments, as well as singing – this dynamic and energetic show is one of the most viscerally engaging productions so far this year.

“Million Dollar Quartet” goes beyond the standard jukebox musical format of stringing together a bunch of hit songs. In the interactions and relationships depicted in this one gathering, the early history of the genre is established. With a book by Colin Escott and Floyd Mutrux, we encounter these soon-to-be legendary performers on the ascendant. The conflicts between personal connections and business dealings that began growing with their chart-topping successes create the dramatic tension of the show.

This is no dry documentary, either. Driven by the rousing “Blue Suede Shoes” that gets things started, it’s clear from the outset that the evening will, indeed, offer a whole lotta shakin.’ Through nearly two dozen smashing numbers, including a finale that brings the audience leaping to its feet, the performers are electric.

At the heart of the show, the fine cast is able to establish exactly the right approach of summoning up their iconic characters. It helps that they represent the stars in their younger days. The hair might be slicked back or done up in a pompadour but the cast is not excessively made up to look like some waxworks copy of a star. They each capture the essence of the personalities without resorting to cartoonish imitations. On the vocal end, each is remarkably true.

As Phillips, Vince Nappo could be easily overshadowed by the bravura performances of the actor/musicians. In a showy, yet carefully nuanced performance, Nappo becomes the show’s conscience as he relates the story in a series of asides to the audience. He captures the sense that Phillips was the spark that lit the fuse to the explosive careers that follow. Record producers are generally depicted as a rather sleazy lot; Nappo shows that the talent in the booth can make or break the talent behind the microphone.

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MILLION DOLLAR QUARTET

What: The Broadway in New Orleans series presents the Tony Award-nominated musical, which centers on a 1956 reunion at Sun Records that sparked a historic recording session by Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins.

The Broadway in New Orleans 2013-14 season is slated to feature: "The Book of Morman," Oct. 15-27; "Ghost the Musical," Nov. 19-24; "Sister Act," Dec. 17-22; "Beauty and the Beast," Feb. 4-9; "Memphis," March 11-16; "War Horse," May 13-18; and special production of "Rain: A Tribute to the Beatles," Jan. 17-19.

Of the four powerhouse performances, Scott Moreau’s portrayal as Johnny Cash gives “Million Dollar Quartet” its heart and soul. Not only does he conjure the deep, warm baritone of the Man in Black, he gives a haunting portrayal of an artist on the verge of making the life-changing decisions of the path his career would take. His renditions of “Sixteen Tons,” “I Walk the Line” and “Riders in the Sky” were soul-stirring. (Moreau played the role on opening night and on Wednesday. David Elkins will take over April 18-21.)

Cody Slaughter’s Elvis has all the hip-swiveling moves and sizzling sex appeal of the King, but this is no cheesy lounge impersonator. His focus is getting to the heart of the sound of the young Presley, not needing the sequined jumpsuits nor the curled, snarling lip. Never overdoing it, Slaughter plays Elvis as he’s just discovering his own swagger. He rocks the house with “That’s All Right” and “Long Tall Sally,” and finds a sweet charm in “Peace in the Valley.”

James Barry has the challenge of tackling Carl Perkins, as the star not necessarily on the ascent, but striving to recapture the triple crown hit he once achieved. The historic jam session evolved from a scheduled recording session for Perkins – and Barry strikes the right balance of drive and desperation as he watches his friends begin to surpass him in fame. How many people forget, for instance, that “Blue Suede Shoes” was written by Perkins and was his hit record before Presely’s? Leading the whole company in Perkins’ “Party,” Barry provides one of the biggest crowd-pleasers, as well as with “Who Do You Love?”

The firecracker of the night is Ben Goddard as a leaping, gyrating, kicking and electrifying Jerry Lee Lewis. In a non-stop ball of fire, Goddard provides the bulk of the show's humor, as well as its raw rockabilly zing. Exuding the sheer joy of performing, it’s a performance that could only be topped by the Killer himself. His backup support of several numbers scores a hit, as do his landmark renditions of “Great Balls of Fire” and “Whole Lotta Shakin’ Goin’ On.”

The most heart-felt moments of “Million Dollar Quartet” reveal the roots these great singers shared. Poor Southern boys who grew up drawn to music, from the gospel choirs of their churches, to the Grand Ole Opry radio broadcasts, to the R&B of the black musicians whose sound they would seek to emulate. As they join voices to sing “Down by the Riverside,” the audiences realizes how far they had come by that one December night – and how much farther they would go. What a journey!