BWW Reviews: JERSEY BOYS - Strong Performances Marred by Flimsy Book and Poor Sound Design

Marshall Brickman and Rick Elice's thin book for JERSEY BOYS is almost non-existent. They expertly capture the rough and tough language and attitudes associated with New Jersey. Yet, their best writing comes halfway into the second act in the famed and astonishing "SIT DOWN!" scene. This 12 minute portion of the show is inspired and supremely fascinating. Until this moment, the characters are sketches serving a utilitarian necessity of giving the audience a slight figment of a plot that can string the songs together. Each member of The Four Seasons gets their chance to narrate the tale of the band's making, rise to fame, and breaking, but they never are given much opportunity to develop and leave a lasting mark on the audience. The book also disappoints because in its lack of character development, it seems to assume that the paying audience is simply too fascinated by the music or too base to expect or want anything other than a concert by The Four Seasons. Perhaps the largest detriment to the book is that the discussion of the death of Frankie Valli's daughter Francine has no real emotional impact. Instead of being the sobering, sad moment the writers intended, it felt like a cheap gimmick to elicit an emotional response and inject drama at a point of the show where there was none.

Des McAnuff's direction of JERSEY BOYS is quick and fast, jumping speedily from song to song. Like the writing, it focuses on the musical numbers and leaves characterization to the dust. Also, like the writing, Des McAnuff's direction for the "SIT DOWN!" scene is attractively emotional, tense, and enthralling. Here his skill in creating moments of theatrical brilliance is on full display.

Musical Direction by Ron Melrose and Choreography by Sergio Trujillo is strikingly sharp and energetic. The music and the dancing sizzle with illustrious life and work harder than the writing and direction to sell the show to the mostly middle-aged and up audience. Being the elements that the show is built around, the creative skills here do not disappoint and move the audience to loud cheers, thunderous applause, and electrified excitation. Ron Melrose and Sergio Trujillo's independent work ensures that "Sherry," "Walk Like a Man," and "Can't Take My Eyes Off of You" are dazzling showstoppers that give the audience everything and more than they expect from the production.

Starring as Frankie Valli, Brad Weinstock is likeably charismatic and driven. At the top of the show, he is supposedly naïve; however, it is not convincingly displayed, which may be more of the book's fault than the performer. However, the boy grows into a compassionate man, taking on the debts of his friend at the show's climax. He croons through the classic music with style and pizzazz. Surprisingly, Brad Weinstock makes the songs his own, incorporating some of Frankie Valli's flair without being completely faithful to the original presentations of the songs.

Colby Foytik breathes a lot of life and sincerity into his portrayal of Tommy DeVito. As the show's first narrator, he is appropriately beguiling and humorous. Likewise, from the beginning of the show, Tommy DeVito loves living life outside of his means and is constantly borrowing money from a loan shark. At the climax of the show, he owes $162,000 to the loan shark who is expecting immediate payment. Musically, his voice is strong and carries well. His fancy and vigorous footwork often catches the eye and allows him his own moments of shining glory in the song performances.

Bob Gaudio is skillfully played by Jason Kappus. He creates a character that is creative, smart, and strong-willed. Jason Kappus brings his narration to life, delivering the lines in a way that effectively hooks and entertains the audience while he stands his ground, refusing to bend to Tommy DeVito's authority. He also displays strong vocal talent in the show's numerous musical numbers.

For me, the most likeable and entertaining character is Brandon Andrus' comical Nick Massi. His slow wit is cleverly utilized, creating a palpable magnetism that draws the audience into his characterization in spite of the weak writing. Brandon Andrus' Nick Massi never is front and center and is kind of just along for the ride. Hilariously, he says he is quitting the band over and over. When he finally does, he earns many a chuckle and grin relating that he quit because the words came out of his mouth. Moreover, Brandon Andrus' deep and rich bass voice nicely grounds the music and rounds out the sounds with miraculous depth.

The rest of the cast performs strongly as a cohesive ensemble, often playing several roles. Each character pops in and out of the show with extremely limited development. Standout and memorable performances were given by Barry Anderson as the flamboyant record producer Bob Crewe, Thomas Fiscella's kind spirited mob boss Gyp DeCarlo, and John Rochette's unforgiving and uncompromising loan shark Norman Waxman.

Klara Zieglerova's sparse Scenic Design is a phenomenal attribute for the show. The unadorned fencing perfectly replicates the working class, industrial feel of New Jersey neighborhoods while perfectly setting the tone and ambience for the production. Being so minimalistic and utilizing pieces that easily slide on and off stage, Klara Zieglerova's design allows for film like fluidity as one scene seamlessly transitions into the other with no lapse in momentum. Another fun element is the pulp comic inspired displays on the LED screen that occasionally lowers.

Lighting Design by Howell Binkley is atmospheric and full of mood. The lights shift on the upstage cyclorama and often telegraph the intended emotion of the scene. They also illustrate time of day well.

Steve Canyon Kennedy's Sound Design does not fit well in The Hobby Center's Sarofim Hall. During louder and more raucous moments and songs, the sound becomes muddled in the cavernous echo of the hall, with the percussion often overshadowing every other element. Lyrics were completely lost and the voices almost entirely obliterated during numbers such as "Ces Soirées-La (Oh What a Night)," "Trance," "December, 1963 (Oh, What a Night)," "Opus 17 (Don't You Worry 'Bout Me)," "C'Mon Marianne," and others. The performance of "Dawn (Go Away)" should have been an instrumental as the miked voices were completely lost to the over amplified band.

Jess Goldstein's Costume Design and Charles LaPointe's Wig and Hair Design are pristine and immaculate recreations of time appropriate fashions and styles.

JERSEY BOYS is less musical theatre and more a recreation of hit songs sung by The Four Seasons and a few contemporaries in a thinly plotted concept concert setting. While not exactly my cup of tea, the show was adored by its target audience. They hooted and hollered, forgetting their age and being transported back to their youths. Leaving the theatre, these same patrons were on their iPhones and Blackberries excitedly purchasing tickets to see the show again while. It cannot be doubted that for the target demographic, the show delivers. While I expected a little more depth and sophistication from the writing, I found the performances to be top notch and only marred by a sound design that favored amplifying the band over the singers.

Broadway Across America - Houston is presenting the 2^nd National Tour of JERSEY BOYS in the Sarofim Hall at The Hobby Center for the Performing Arts through March 31, 2013. For more information and tickets, please visit http://houston.broadway.com/ or call (800) 952 - 6250.

All photos by Joan Marcus. Courtesy of Broadway Across America - Houston.

(l to r) Brandon Andrus, Brad Weinstock, Jason Kappus and Colby Foytik

(l to r) Brandon Andrus, Brad Weinstock, Jason Kappus and Colby Foytik

(l to r) Brad Weinstock, Jason Kappus, Colby Foytik and Brandon Andrus

(l to r) Wes Hart, Brad Weinstock, Brent DiRoma and the Company of JERSEY BOYS