When JERSEY BOYS, the story of Frankie Valli and The Four Seasons, hit the Theatre Royal stage in Sydney (2010), and the rest of the world for that matter, it had a huge impact with capacity crowds appreciating its originality.
At that time the famous quartet was led by Bobby Fox. He and the rest of the cast were excellent forefathers. However that production was somewhat hobbled by the poor sightlines of the Theatre Royal. However this production with four new Jersey Boys was allowed to breathe in the superb expanse of the Capitol Theatre.
It goes to show that the depth of musical talent that exists in this country that the new members of the Jersey Boys have been cast without any discernable loss of quality compared to the original production. What is different is that the pivotal role of Frankie Valli will be shared by Bernard Angel and Ryan Gonzalez. For the media previews and opening night, Ryan Gonzalez, the dance captain of the ensemble, was given the responsibility of spearheading this new production. Let me say straight away that he was superb in the titular role projecting Valli’s tingling falsetto with ease together with bringing the dramatic intensity required of the narrative.
Let me also say that as a teenager Frankie Valli and the Four Seasons were still going strong and I loved them as they were literally part of the soundtrack of my youth. To demonstrate the timelessness of this music, I have seen the younger generation respond to it enthusiastically albeit from a different perspective.
What is also unique about this musical is the considerable input into the story was made by the guys who were there in the beginning; composer Bob Gaudio who was one of the Four Seasons and lyricist Bob Crewe who was often their producer. They along with the musical’s authors Marshall Brickman and Rick Elice had the difficult task of writing about the group whilst all the members were still alive and yet retaining an objectivity to make the narrative plausible.
Cameron McDonald was especially striking as Tommy Devito, a deeply flawed and megalomaniacal character. He did found the Four Seasons but also brought them to the brink of financial ruin. McDonald projected this narcissism effortlessly.
Thomas McGuane as Bob Gaudio slipped smoothly between the creative composer and harmonist of the Four Seasons.
Glaston Toft as Nick Massi, the bassist, and Ringo Starr of the group projected his amiable but stressed character.
However the sum is greater than the parts and the soaring harmonies and vocal gymnastics blended into a glorious wall of sound.
Glenn Hill as Bob Crewe and Joshua Mulaheran as a very young Joe Pesci add a touch of humour to the show whilst Christina D’Agostino brings drama to the embittered, alcoholic first wife of Frankie Valli.
The first Act is exhilarating as the group, after some false starts, begin to achieve local and world wide success. Accordingly boppy songs like ‘Sherry Baby’, ‘Big girls Don’t Cry’ and ‘Walk Like A Man’ drive the action onward and upward.
The second Act darkens a little as the inevitable fracturing of the group starts to occur. Nevertheless the pace doesn’t slacken with iconic songs such as ‘Stay’, ‘Bye Bye Baby’, ‘Can’t take my eyes off You’, some of which directly comment on the action.
Ably directed by Des McAnuff, the performance deftly choreographed to manoeuvre in, through and on the complex scaffolding to maximise the full use of the stage.
Musical director Luke Hunter together with the orchestration of Steve Orich and the arrangements of Ron Melrose create backing instrumentals that uncannily mirror the original sound which propelled the Four Seasons harmonies.
The previously mentioned striking scaffolding set, bold silhouetted cityscapes, and Roy Lichtenstein like graphics designed by Klara Zieglerova, are skilfully lit by Howell Pinkley.
The costume designer Jess Goldstein nostalgically creates the fashions of the late 1950’s and early 1960’s together with some forays into the 1970’s due to the group’s longevity.
Critical to the success and enjoyment of the production are the way that the carefully crafted harmonies and backing instrumentals are modulated for the audience. Steve Canyon Kennedy has, in this regard, succeeded admirably.
The production makes a welcome return to Sydney and to paraphrase one of the Four Seasons hit songs my eyes and ears adored this show.
Recommended, JERSEY BOYS is playing at the Capitol Theatre until 1st November, 2018.
