(Production photo courtesy of A Contemporary Theatre of Connecticut. Credit: Jeff Butchen)

by Tim Leininger

RIDGEFIELD — Most jukebox musicals are trite entertainments. Some of them are decent, but most of them tedious, as the creators of the show seem to care less about story and more about shoving as many of the featured artist’s songs into the show to appease the audience’s nostalgic appetite. Beautiful: The Carole King Musical, though, is one of those ultra rare jukebox musicals that breaks the mold, and A Contemporary Theatre of Connecticut has produced a satisfyingly entertaining show, capturing the magic of a songwriter who blossomed into one of the biggest musical artists of the 20^th century.

Running through Nov. 22 at A.C.T. of Connecticut at 26 Old Quarry Road, and directed and choreographed by Parker Esse, Beautiful stars Julia Bain as the Tapestry songstress, who starts her story at the age of 16 living in the Brooklyn with her mother Genie Klein (Lisa Sabin). Exceptionally intelligent, she is already in college and writing music. Following her passion, she travels to the Brill Building, a famous office building for musicians under contract, to come and write music for Producer/Publisher Don Kirshner (Joseph Torello). She quickly makes friends with the songwriting team of Barry Mann (Barrett Riggins) and Cynthia Weil (Mary Grace Humphries), and falls in love with her own songwriting partner, Gerry Goffin (Jake Goz). Act one follows Carole’s competitive songwriting career with Barry and Cynthia, and how, as her and Gerry’s star rises, their marriage becomes more tempestuous. Act two follows Carole’s career as she starts to strike off on her own as a performer.

(Production photo courtesy of A Contemporary Theatre of Connecticut. Credit: Jeff Butchen)

What Beautiful gets right where so many other jukebox musicals fail is its focus on story. Yes, there are a lot of songs, mostly written by Goffin and King, and Mann and Weil, but the songs don’t stop the story. They are instead integrated into it. The music isn’t there to just entertain, but narratively show how the songwriters are evolving, changing, and thinking. Many of the songs aren’t even performed in their entirety but are presented just enough to whet the beaks of the audience and advance the plot, then it moves on. This helps keep the musical’s pace at a faster clip, allowing time for more story, prioritizing substance over spectacle.

There are still nitpicks regarding the book by Douglas McGrath, as he altered history a bit for the sake of dramatic purpose or convenience. Gerry Goffin reportedly had far more affairs than what is indicated, and his substance abuse issues are only briefly touched upon. Barry Mann and Cynthia Weil’s romantic relationship was not as “will they/won’t they” as written in the show. They marry quite quickly compared to their musical counterparts.

(Production photo courtesy of A Contemporary Theatre of Connecticut. Credit: Jeff Butchen)

A.C.T. of Connecticut’s production mostly succeeds in presenting Carole King’s story in a compelling fashion. The cast is led by a great Julia Bain, who gives Carole’s journey an ebb and flow as she struggles with her youthful naivete and passion for Gerry, while balancing that life with her friendly but competitive working relationship with Barry and Cynthia. There’s a visceral conflict expressed throughout by Bain as she battles the world around her to find a voice that is truly hers.

The supporting cast is good. Jake Goz is appropriately slimy as the philandering Gerry, and Mary Grace Humphries and Barrett Riggins are a delightful comedic pair in the spirit of Betty Comden and Adolph Green. The vocals of the ensemble, singing classic songs like “Will You Love Me Tomorrow,” “Up on the Roof,” and “One Fine Day,” are excellent. “You’ve Lost That Lovin’ Feeling” has been tuned down a few steps, but that’s understandable, not everyone is going to sing Bobby Hatfield’s part in the original key and sing it well. I do wish the actors on stage played their instruments. Bain does a good job faking the piano, but the various people on guitar have a tough go at it.

(Production photo courtesy of A Contemporary Theatre of Connecticut. Credit: Jeff Butchen)

Though I think Esse’s direction of the cast on an acting level is layered and textured, the choreography sometimes feels unnecessarily frenetic, where the ensemble look way too busy for the songs they’re performing.

I love David Goldstein and Matthew Herman’s scenic design, capturing much of the classic aesthetic of the old Brill Building on Broadway in New York. Charlie Morrison’s lighting is vibrant and beautifully integrated into the set, and Tammy Spencer’s costume design does a great job of telling the show’s story through time and design. Catherine Petty Rogers’ wigs, though, are hit and miss. Carole’s wigs look great, while some of the ensemble wigs feel unfinished.

(Production photo courtesy of A Contemporary Theatre of Connecticut. Credit: Jeff Butchen)

A Contemporary Theatre of Connecticut’s production of Beautiful: The Carole King Musical is a wonderful show. The cast is great. They capture the intimate yet grand story of Carole’s blossoming into not only a music superstar, but as a woman of independence and courage. There are a few details that could have been tidier, but overall, it’s a beautiful two and a half hours of theater.

TICKETS: https://www.actofct.org/

PRODUCTION

Book by Douglas McGrath; Words and Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil; Music by Arrangement With Sony/ATV Music Publishing; Orchestrations, Vocal and Incidental Music Arrangements by Steve Sidwell; Additional Music Arrangements by Jason Howland; Director/Choreographer: Parker Esse; Co-Scenic Designers: David Goldstein & Matthew Herman; Costume Designer: Tammy Spencer; Lighting Designer: Charlie Morrison; Sound Designer: Max Silverman; Wig Designer: Catherine Petty Rogers; Production Stage Manager: Arthur Atkinson; Casting Director: Koppel Casting, Karie Koppel; Associate Director: Maria Turnage; Music Director: Alex Gutierrez; Music Supervisor: Bryan Perri

CAST (in order of appearance)

Julia Bain as Carole King

Lisa Sabin as Genie Klein

Gia Marino as Betty

Cameron Edris as Neil Sedaka/Lou Adler

Se’lah Jackson as Lucille/”Uptown” Singer

Joseph Torello as Don Kirshner

Chance Ingalls as Bobby Vee/Gene Vincent/Nick

Jake Goz as Gerry Goffin

Berlin Lee Charles, Elijah James, Jamonté, Christopher Scurlock as The Drifters

Mary Grace Humphries as Cynthia Weil

Barrett Riggins as Barry Mann

Audrey Taylor Floyd as Shirley

Deirdre Dunkin, Audrey Taylor Floyd, Se’lah Jackson, Soraiah Williams as The Shirelles

Deirdre Dunkin as Little Eva

Cameron Edris and Chance Ingalls as The Righteous Brothers

Soraiah Williams as Janelle Woods

Deirdre Dunkin, Audrey Taylor Floyd, Se’lah Jackson as “One Fine Day” Backup Singers

Jillian A. Smith as Marilyn Wald

Ensemble: Berlin Lee Charles, Deirdre Dunkin, Cameron Edris, Audrey Taylor Floyd, Chance Ingalls, Se’lah Jackson, Elijah James, Jamonté, Gia Marino, Christopher Scurlock, Jillian A. Smith, Soraiah Williams