The historic Academy of Music is just that -- a famed opera house and orchestral venue. But since the world-renowned Philadelphia Orchestra now makes its home in the nearby Kimmel Center, the Academy hosts traveling Broadway shows. The Academy's mammoth stage has been altered to accommodate theatrical events but this cavernous venue still seems cumbersome hosting musicals, especially smaller, more intimate ones like Beautiful. The environment itself overpowers the show.
Having said that, we can note that Beautiful is an enjoyable show but it's basically what Broadway has come to call a "jukebox show". We personally loathe the term but the moniker has gained traction. It's not like these shows are small enough to be called "tribute" acts which now see to be as ubiquitous as karaoke nights once were. No, these shows are bigger than that and, as with Beautiful, they often contain a complete story. Of course, Beautiful tells the story of Carole King and her tenacious route to the top of the pop world as a songwriter and, finally a compelling, full-throated performer.
It's an inspiring story, all the more so because it portrays the travails of a woman making her way in what was traditionally a man's business. As King moves up, each step along the way is punctuated with one of her memorable, chart-topping songs. And here, the songs are often performed by tribute style acts which recreate the look and sound of the original. So, familiar musical figures like Neil Sedaka, The Drifters, The Shirelles, The Righteous Brothers and Little Eva make their appearances and they're all faithfully portrayed.
Naturally, there's a romantic story here as well in the complicated relationship between King and her songwriting partner (and later husband) Gerry Goffin. A parallel love story also unfolds between the related songwriting team (and King/Goffin friends) of Cynthia Weil and Barry Mann. There's a competition between these pairs but also a mutual respect and much honest affection. In these four roles Sara Sheperd, James D. Gish, Sara King and Ryan Farnsworth perform convincingly.
And the music? Well, that's really what drives the whole show. The string of hits includes Will You Love Me Tomorrow, You've Lost That Lovin' Feeling, The Locomotion, Some Kind of Wonderful, Up on the Roof, Pleasant Valley Sunday, Uptown, (You Make Me Feel Like) A Natural Woman and, of course, Beautiful.
Seeing a show likes this makes us wonder if it wasn't better when Broadway simply presented revues celebrating great composers and lyricists. We're talking about shows like Ain't Misbehavin', Sophisticated Ladies, Eubie, Oh, Coward, And The World Goes Round, Smokey Joe's Cafe and many others. These shows wisely didn't pretend to be anything other than what they were and they would up being pure, irresistible entertainment. But then a show like Jersey Boys comes along, turns out to be a mammoth hit and it spawns something like Beautiful or Ain't Too Proud or MJ and the soon-to-arrive Beautiful Noise. If it sells, who's to argue with it? On we go . . .
No comments:
Post a Comment