Wednesday, 10 March 2010
There’s a certain symmetrical irony in realising that Jersey Boys, the musical rendition of the life and times of Frankie Valli and the Four Seasons, is now calling as it’s neighbourhood the Princess Theatre in Melbourne, a city that even locals acknowledge can regularly display four seasons in one day!
Checking out the matinee of this Tony award winning show on recent visit to Melbourne, I was almost swarmed by enthusiastic members of the silver fox set, keen to revisit the songs of their youth and surrounded by peers of their generation.
But good music always stands the test of time, and the creative writing team of Marshall Brickman and Rick Elice, utilising music by Bob Gaudio, one of the original singer-songwriters of the Four Seasons; with lyrics from Bob Crewe, their original producer; have given us a story that is as rich, meaty and downright Noo Yawk as any episode of the Sopranos.
Cleverly employing a frame that reflects their name, we meet Tommy DeVito (Glenn Quinn in a charismatic good fellas role) in Spring, when he’s trying to get a musical group off the ground. Tommy wants to break outta Brooklyn and there’s only three ways to do that – join the army, join the Mob, or become a star. He finds a voice he knows will be his ticket – Frankie Valli, a kid who’s unaware he’s something special - and takes him under his wing like a big brother, promising to look out for him to Frankie’s mother, in the meanwhile getting Frankie to drive the getaway car in bank heist. He’s trouble, but he’s got your back and family is family.
Tommy also reluctantly takes on previous one-hit wonder Bob Gaudio (who toured with Chuck Berry, Sam Cooke and the Everly Brothers at 15 with his 1958 cheeky hook, Short Shorts) but Bobby turns out to be just what launches the Four Seasons into the stratosphere. Stephen Mahy, all big eyed and clean cut preppy, brings about Summer for the group, inspired by Frankie Valli’s three-octave vocal range, he writes songs that break onto the charts and cements the Four Seasons as one of the sounds of the Sixties.
Sherry, Big Girls Don’t Cry, Walk Like a Man and December 1963 (Oh What a Night) become bona fide hits and the world explodes for the Four Seasons. But the more famous they become, the bigger the cracks get. Constant touring and life on the road estranges Frankie from his wife and children; Tommy spirals deeper into debt, only holding his creditors at bay with his fame and moxie; and Nick Massi, the mostly affable bass of the group begins to feel like the Ringo in this four person set, comically vocalising at various intervals about starting his own group.
Fall begins her turn and Tommy is ousted from the band for his mob dealings and tax evasion (forcibly retired to Vegas so he can be kept an eye on), and Nick also decides to leave, whether on a whim, or maybe just because he was tired of all the touring and the drama. Glaston Toft, practically a spitting image of Cameron Frye, Ferris Bueller’s best friend, plays funny and cool, a regular guy with an amazing ear for harmony who enjoyed the ride, but knew when he wanted to get off the merry-go-round.
Heading into Winter, Gareth Keegan’s baby face hardens up and psychologically ages - Frankie’s now a solo artist as Gaudio moves into writing and producing, and a revolving door of singers makes up the rest of the Four Seasons... and while the hits keep on coming (including career defining pieces like, You’re Just Too Good to be True and My Eyes Adored You), life deals Frankie a couple of big blows as he takes on Tommy’s half a million dollar debt, and his youngest daughter, Francine (Katherine Rodrigues) ends up dying of a drug overdose.
A journey into a life and times, this show had everything, and the matinee I saw was flawless, with so many high points, and despite the personal tragedies, ending on the group’s triumphant reunion as they were inducted into the Rock & Roll Hall of Fame. It was fantastic to see WAAPA graduates in force with three of the leads hailing from WA’s school of the arts and a sizable contingent in the swing cast and chorus.
Scenic designer Klara Zieglerova’s simple, yet multi-purpose set was masculine and spoke to construction steel and working class roots, alleviated by large screens displaying melodramatic Liechtenstein inspired comic prints. Lighting designer Howell Binkley gave us both arenas and intimate clubs - the many places on the road that became the almost never-ending life of a touring group.
There’s a certain symmetrical irony in realising that Jersey Boys, the musical rendition of the life and times of Frankie Valli and the Four Seasons, is now calling as it’s neighbourhood the Princess Theatre in Melbourne, a city that even locals acknowledge can regularly display four seasons in one day!
Checking out the matinee of this Tony award winning show on recent visit to Melbourne, I was almost swarmed by enthusiastic members of the silver fox set, keen to revisit the songs of their youth and surrounded by peers of their generation.
But good music always stands the test of time, and the creative writing team of Marshall Brickman and Rick Elice, utilising music by Bob Gaudio, one of the original singer-songwriters of the Four Seasons; with lyrics from Bob Crewe, their original producer; have given us a story that is as rich, meaty and downright Noo Yawk as any episode of the Sopranos.
Cleverly employing a frame that reflects their name, we meet Tommy DeVito (Glenn Quinn in a charismatic good fellas role) in Spring, when he’s trying to get a musical group off the ground. Tommy wants to break outta Brooklyn and there’s only three ways to do that – join the army, join the Mob, or become a star. He finds a voice he knows will be his ticket – Frankie Valli, a kid who’s unaware he’s something special - and takes him under his wing like a big brother, promising to look out for him to Frankie’s mother, in the meanwhile getting Frankie to drive the getaway car in bank heist. He’s trouble, but he’s got your back and family is family.
Tommy also reluctantly takes on previous one-hit wonder Bob Gaudio (who toured with Chuck Berry, Sam Cooke and the Everly Brothers at 15 with his 1958 cheeky hook, Short Shorts) but Bobby turns out to be just what launches the Four Seasons into the stratosphere. Stephen Mahy, all big eyed and clean cut preppy, brings about Summer for the group, inspired by Frankie Valli’s three-octave vocal range, he writes songs that break onto the charts and cements the Four Seasons as one of the sounds of the Sixties.
Sherry, Big Girls Don’t Cry, Walk Like a Man and December 1963 (Oh What a Night) become bona fide hits and the world explodes for the Four Seasons. But the more famous they become, the bigger the cracks get. Constant touring and life on the road estranges Frankie from his wife and children; Tommy spirals deeper into debt, only holding his creditors at bay with his fame and moxie; and Nick Massi, the mostly affable bass of the group begins to feel like the Ringo in this four person set, comically vocalising at various intervals about starting his own group.
Fall begins her turn and Tommy is ousted from the band for his mob dealings and tax evasion (forcibly retired to Vegas so he can be kept an eye on), and Nick also decides to leave, whether on a whim, or maybe just because he was tired of all the touring and the drama. Glaston Toft, practically a spitting image of Cameron Frye, Ferris Bueller’s best friend, plays funny and cool, a regular guy with an amazing ear for harmony who enjoyed the ride, but knew when he wanted to get off the merry-go-round.
Heading into Winter, Gareth Keegan’s baby face hardens up and psychologically ages - Frankie’s now a solo artist as Gaudio moves into writing and producing, and a revolving door of singers makes up the rest of the Four Seasons... and while the hits keep on coming (including career defining pieces like, You’re Just Too Good to be True and My Eyes Adored You), life deals Frankie a couple of big blows as he takes on Tommy’s half a million dollar debt, and his youngest daughter, Francine (Katherine Rodrigues) ends up dying of a drug overdose.
A journey into a life and times, this show had everything, and the matinee I saw was flawless, with so many high points, and despite the personal tragedies, ending on the group’s triumphant reunion as they were inducted into the Rock & Roll Hall of Fame. It was fantastic to see WAAPA graduates in force with three of the leads hailing from WA’s school of the arts and a sizable contingent in the swing cast and chorus.
Scenic designer Klara Zieglerova’s simple, yet multi-purpose set was masculine and spoke to construction steel and working class roots, alleviated by large screens displaying melodramatic Liechtenstein inspired comic prints. Lighting designer Howell Binkley gave us both arenas and intimate clubs - the many places on the road that became the almost never-ending life of a touring group.
Sharp suits and sassy dresses recalled the Mad Men era as costume designer Jess Goldstein tripped your memory on what they wore, and almost invisibly pulling it all together with pace and pitch perfection was Tony Award winning director Des McAnuff, guaranteeing that the audience leaves the theatre with a smile on their face and their toes tapping amongst all that human drama.
Who loves you, pretty baby? Everyone undeniably - badabing, badaboom!
Who loves you, pretty baby? Everyone undeniably - badabing, badaboom!
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Another good read Judith. When I went I reckon I was one of the younger people there too - and I am somewhat older than you! It is a pity that more younger people don't go to the show because I think almost anyone would enjoy it regardless of whether they know anything about the story beforehand. There were some hits played which I was surprised came from their era. For instance 'Oh what a Night' I had always assumed came from the disco late 70's scene. jaymez
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