Jersey Boys
Marshall
Brickman & Rick Elice (Book)
Bob
Gaudio (Music); Bob Crewe (Lyrics)
Keith Hines, Matthew Dailey, Aaron De Jesus & Drew Seeley |
What
is it about the 2005, multi-Tony-award-winning Jersey Boys in its third U.S. tour and third visit to San Francisco
that still results in a standing ovation, sold-out Opening Night and a
beginning of yet another extended four-week run? Is it the set of over-thirty songs (Bob
Gaudio, music, and Bob Crewe, lyrics) that, as one actor (Matthew Dailey) in a
pre-show Q&A told this reviewer, “These songs are the stories of people’s
lives, that bring back hosts of memories of where they were, when, and with
whom”? Is it the harmonies of voices
that blend in magical ways, or the incredible personal vocal ranges and
sterling singing qualities that this and all previous casts have consistently
displayed? Is it a book (Marshall
Brickman and Rick Elice) that tells a compelling, heretofore-unknown story of
the ups and downs of a famous jukebox group?
Or is it the precise, totally synchronized movements of the four
singers’ bodies where hips and heads, arms and legs, single fingers and total torsos
all mirror each other with split-second speed (thanks to choreographer Sergio
Turjillo)? For this return visit to SHN
Orpheum Theatre where the first national tour began in 2006 breaking all box
office records, the answers are all resounding yes’s to these and many more
aspects of yet another winning production of Jersey Boys.
The
story of this group that, as the program notes, “sold over 175 million records
worldwide, all before any of the members turned 30,” is told in four sections
matching the four seasons of the year.
Each member of the quartet narrates one part of the time-sequenced
story, putting his particular spin on a history that is full of false starts,
sky-rocketing successes, personal tragedies, and personal loyalties thicker
than blood as well as lies and betrayals that lead to break-ups, personally and
professionally. And the narrations are
of course frequently punctuated by the sounds of songs as old friends once
heard on 45s and still heard decades later on any streaming service to our
phones.
Matthew
Dailey begins the story with the “Spring” section as the dimpled, cocky,
heavy-Jersey-accented Tommy DeVito, self-proclaimed founder and leader of the
group (and also occasional visitor to what he calls the “Broadway Correctional
Institute” – or prison). Taking us
through his search for just the right foursome as the earlier versions of trios
and quartets play small clubs and street corners (“Silhouettes” and “You’re the
Apple of My Eye”), Matthew Dailey rouses the audience with his gorgeous crooning
with full company backup in “Earth Angel.”
The
All-American-looking, clean-cut Bob Gaudio (Drew Seeley), who at 15 had already
had a #1 hit, “Short Shorts,” picks up the story of “Summer” as he becomes the
fourth piece of the pie. His joining and
his talented song-writing leads to the first three big hits, delivered by the
four leads in a rousing, toe-tapping sequence of melodies and harmonies that the
audience can hardly hold back singing along:
“Sherry,” “Big Girls Don’t Cry,” and “Walk Like a Man.” (The hits also coincide finally finding the
right name, inspired by a neon “Four Seasons” sign on a bowling ally.) Drew Seeley as Bob then brings crystal
clarity and a radiant spirit as he leads the entire ensemble belting perfectly
the ever-popular “December, 1963 (Oh What a Night).”
Standing
like a tall, lanky giant with a singing bass voice astoundingly rich and deep and
a talking voice slow, measured, and usually soft-spoken, Keith Hines is Tommy’s
long-time friend from the neighborhood and singing partner from the beginning,
Nick Massi. While providing the solid,
ever-beautiful foundation for the quartet’s close harmonies, Mr. Hines is also
exceptionally funny with Nick’s under-breath comments (always suggesting “Maybe
I’ll form my own group” to everyone’s rolled-eyes dismal) and when he describes
in non-characteristic frenzy ten years of wet towel torments while rooming with
Tommy on the road.
And
with “Winter” comes the side of the story we have been most wanting to hear,
that of the real star of the Four Seasons who eventually becomes the name in
front of it all, Frankie Valli. Aaron de
Jesus steps into the role that won John Lloyd Young a Best Actor in a Musical
Tony; and he carries on the tradition superbly as the diminutive, angel-voiced
Frankie, taking his several-octave range into falsetto heavens with total ease
and confidence. He also solos in numbers
that become further proof of the original Valli’s unique talents that have
struck chords deep within listeners around the globe for generations (e.g.,
“Can’t Take My Eyes Off You” and “Fallen Angel”). Aaron de Jesus is totally convincing in not
only his singing but in his ability to convey the deep hurts Valli causes and
feels, the blind devotion to those who helped him (even when they harm him
later on), and the extreme drive that he has to connect with his audiences with
a message that can touch each one of them singularly and meaningfully.
Supporting
this star-studded foursome is a cast of equally talented veterans of many
Broadway, touring, and regional credits.
Among them, Lauren Tartaglia excels as Frankie’s first wife, the fiery
in red hair and in disposition, Mary Delgado.
She joins Frankie and the Four Seasons for a heart-touching and closely
harmonized “My Eyes Adored You.” Barry
Anderson is the bubbly, boyish Bob Crewe who brings as producer the newly
formed Four Seasons into their real fame.
Thomas Fiscella is totally believable as the serious but sentimental mob
boss, Gyp De Carlo, who loans questionable-sourced money that both keeps the
group alive and eventually leads to disillusion among the original
members.
The
two-leveled, erector-like set of Klara Zieglerova is enhanced by scenic pieces
that magically and quickly appear and recede as needed. Lighting by Howell Binkley is a real star in
this production (as it was in the original Broadway production where a Tony was
awarded) along with projections designed by Michael Clark that highlight
nightclub marquees where the group is performing as well as Lichtenstein-style
cartoons to illustrate songs and scenes.
Jess Goldstein contributes costumes that reflect the rather conservative
donning of the Four Seasons as well as the sparkling dresses of the women on
stage of the era. All is held together
with precision and seamless flow by Director Des McAnuff.
Third
time around may sound like one too many times for some shows, but for the
current touring version of Jersey Boys, this SHN Orpheum Theatre
production is yet-again one not to be missed -- whether seeing for the first
time or the second, third, or whatever time.
Rating:
5 E
Jersey Boys will continue its SHN
Orpheum Theatre run through February 14, 2016 at 1192 Market Street, San
Francisco. Tickets are available at https://www.shnsf.com.
Photo
Credit: Jeremy Daniel
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