Review: JERSEY BOYS, Wycombe Swan - Tour
Photo credit: Mark Senior
20 years after it’s Broadway debut, Jersey Boys returns to the stage for its 20th anniversary tour. Previously having won both Tony and Grammy awards in America back in 2006, followed by an Olivier Award for Best New Musical in the West End in 2009, it is a seemingly a firm favourite with its audiences. Timeless songs from the group that came to be known as Frankie Valli & The Four Seasons in the 1960’s, a group remembered for their new sound and iconic red suits which, of course, Jess Goldstein has been sure to feature when considering costume design, alongside some other aesthetically pleasing suits with sparkly lapels, are still hugely appealing to audiences of today. Music is written by Bob Gaudio, with lyrics by Bob Crewe; both of whom feature as characters in this theatrical adaptation of the true story behind how the band and the music came to be.
The story follows four key men of Italian/Italian American heritage from singing on street corners in New Jersey to making their break in the music industry and hitting international success at the top of charts. In a narrated fashion we get to explore the lives of each from their own perspective and delve into key events in their personal lives such as Tommy DeVito’s involvement with organised crime and the wrong side of the law, alongside the tragedy of Frankie Valli’s daughter. As well as their real lives and families, we also get to delve into the band's relationship with one another as somewhat of a dysfunctional work family at times, learning about them during their early days, the rise of their success, their breakthrough into the industry and the restructuring of the band as members join and depart. Featured also is the band's temporary reuniting for their induction into the Rock & Roll Hall of Fame in 1990.
This jukebox musical features an extensive existing catalogue of music by the band and a book by Marshall Brickman and Rick Elice places the songs at milestones in the band’s development and journey. The story gives insight into the influences and events that eventually come together to achieve the success that they have had, alongside some of the barriers of the times, “come back when you’re black”, the trials and tribulations in both their personal and professional growth and, in some senses, the cost of fame itself. A poignant quote being “go sell a million records, see how you handle it”.
Choreography by Sergio Trujillo, supported by Danny Austin, encompasses the simple but polished signature moves relative to the doo wop style of the times, with sharp synchronised steps, turns and hand gestures. The cast exude an energetic performance effortlessly.
The lighting design by Howell Binkley, again simple but effective, using warm coloured washes creating that nostalgic atmosphere, with backlighting used in parts to create silhouettes evoking emotion during more sentimental numbers, with brighter front lighting to light the performers in action. During last night’s performance, the lighting balance did feel in need of a tweak in places, particularly when the performers were on the higher tier of the scaffolding as their faces were either not lit or lit too harshly. However, lighting was used particularly effectively to accentuate during scenes that used freeze frame narration techniques, blending the scene into a wash of blue but allowing it to remain visible, whilst actors stepped out to complete their direct address to the audience and narrate the next part of the story.
The set consists of an industrial style metal scaffolding structure, which is accessible by stairs either side. This enables multi level performance and is also used sometimes to change the scene with actors using the route up, across and back down to re enter a new location supported through lighting and subtle prop changes. The drum kit is featured onstage centre back and is brought forward and back on hydraulics to make it more of a centre piece in performance scenes. In settings where it is not in keeping, it is slid back and gated off. This works well and enables slick and smooth changes to be completed quickly and with little man power. There isn’t a huge amount of set or props here. Key items are used, such as tables and chairs, with the majority rolled in on castors to enable fluidity. Some other items of the set are on hydraulics and drop from the flys and the microphones sliding in and out smoothly without physical contact is a great feature. In the most part, scene changes are highlighted through doors / panels moving in and out of the scaffolding structure, these fly and slide in unfolding unobtrusively. Featured also is a projector screen that backdrops the upper platform and provides visuals relating to the setting of each scene. Although this supports the piece as a whole, it is potentially overused in parts where it is ultimately clear where the scenes are set or what is being represented, the screen sometimes detracts from the actual action on stage.
Overall, a good sound is produced by a clearly very vocally talented cast, although the sound mixing equilibrium at times left either vocals quieter than they could have been or certain tracks louder than necessary. An easy fix as the tour progresses. A particular stand out moment in terms of sound design however, is during the church scene, the echo and reverb employed supports the setting beautifully.
The casting is strong throughout and the connection between Luke Baker, Carlo Boumouglbay, Lewis Kennedy and Toby Miles as the four front men feels authentic. The energy in the room certainly picks up as the cast deliver many of Valli’s well known biggest hits, both as a solo artist and his career with the Four Seasons, such as ‘Can’t Take My Eyes of You’, ‘Sherry’, ‘Working My Way Back to You’ and, of course, ‘Oh What a Night’. This musical does achieve inclusion or mention of a large number of tracks from their back catalogue. The vocal range of Luke Baker as he delivers Frankie Valli’s signature falsetto is truly impressive and Toby Mills as Gaudio gives a charming and charismatic performance.
With a few technical tweaks, this current adaptation of the production could be teetering on continued greatness.
A charismatic crowd pleasing celebration of timeless songs and the history behind their story.
*** Three stars
Reviewed by: Claire Baker