Review: CHEZ JOEY at Arena Stage

An embarrassment of theatrical riches, bordering on sensory, stimulating overload, is on display in an exceptionally bold and satisfying reimagining of the very influential musical Pal Joey—now reconceived as Chez Joey. The show still takes place in the 1940’s Chicago music/nightclub scene, but it has been opened up to explore potent possibilities that are realized in this production.

As I entered the Kreeger Theater of the Arena Stage, I was immediately transported to “Lucille’s” night club where Lucille’s “Ambrosials” are setting the tone with a swinging jazz ensemble onstage. The fourth wall is often broken as the audience at the Kreeger Theater becomes the audience at the nightclub on the stage.

One knockout song follows each other in this veritable feast for the senses ---the classic standards of Richard Rodgers (Music) and Lorenz Hart (Lyrics) are given new life courtesy of the exceptional vocal talent of the cast, and a riveting and rhythmic jazz ensemble. This vibrant music is  intermixed with the bold, new, and subtly psychological tone of the updated book by Richard LaGravenese (the book’s perennial “playboy” theme from the original musical by John O’Hara is –refreshingly –developed further and deeper).

Choreography by Savion Glover is a veritable feast for the senses as tap, jazzy moves, bebop, and swing are all intermixed and choreographed to the hilt. The influence of Bob Fosse’s angular and thrusting movements are subtly interwoven into the swinging dancing and the jazzy movement. The flow of energy from the intimate thrust stage of the Kreeger Theater space to the audience is palpable.

The co-direction of the influential tap dancer Savion Glover and the extremely prolific Tony Goldwyn is a meeting of two influential  talents, and their backgrounds lend gravitas to this musical. Mr. Glover and Mr. Goldwyn’s strong directorial  collaboration is evident in the relevancy of this musical . A truly diverse cast, an accent on more songs (including those from Betsy, The Boys From Syracuse, Babes in Arms and the film version of Pal Joey (1957) and the re-invigorated Richard LaGravenese book, are all components that make this musical a solid winner.

The talent assembled for this extremely ambitious production is  inexhaustible in theatrical knowledge; there is massive artistic  intersectionality based on the rich backgrounds of Mr. Glover and Mr. Goldwyn --- as well as the backgrounds of the musicians and the creative technical talents assembled.

The well-known paintings of George Grosz that influenced the musical Cabaret seem to hover over the musical’s psychologically fraught sections, the influence of another Kander and Ebb score –namely, Chicago, is evident in the mock pageantry and feather boa that influences the songs of alternating cynicism and striving in “Joey Works It Out”, “Do It the Hard Way” and “Joey’s Way.”

The orchestrations are refreshingly urgent, poignant, and alive under the craftsmanship of Savion Glover. There are chords from the moving “My Funny Valentine” –which  underscore the dramatic dissonance of a further moment in the musical; Glover’s orchestration  is astonishing. The sounds of clarinet, sax, and trumpet add to the swinging ambience of this jazzy musical. Sound design by Dan Moses Schreier is smoothly customized to ensure that the music hits all the right notes to enhance the mood of this work and to enhance the audience’s immersion.

The ensemble numbers in the production and the staging of the ensemble assembled is stellar. The ensemble work explodes in the urgency of “Take Him” and the irony and sardonic attitude of “The Lady is a Tramp” (this well-known standard is given an especially ironic and pointed interpretation in this production). The dancers provide a non-stop swirl of vivid energy .

“I Didn’t Know What Time it Was”, “Where or When”, “This Funny World” and several other classic songs are delivered by (the Tony -winning) Myles Frost in disarming, charismatic, amusing, and a slightly rebellious manner that befits the quality of leading man Joey . Mr. Frost projects a compact and potent pugnacity with a concurrent slyly seductive quality. Mr. Frost’s thrilling and electric dance movements elicited gasps of awe the night I attended. Mr. Frost also captured his character’s straining for the right balance between a thirst for creative, artistic control amidst the harsh realities of compromise needed in a cutthroat world .

A completely re-envisioned cover of the classic –“My Funny Valentine”, is a showstopper. Awa Sal Secka delivers a torchy, sultry, and heartbreaking rendition of this deserved classic (This song is perhaps my favorite in the American songbook, and I have never heard it reimagined in this way –has there ever been such an honest declaration of love? –Lorenz Hart and Richard Rodgers have outdone themselves in this song’s exquisite structure).

Ms. Sal Secka delivers a piercing, poignant, and honest portrayal of the survivor, Linda. Ms. Sal Secka sings a wistful “Where’s That Rainbow?” (an aching search for a glimmer of hope), and “My Heart Stood Still” (a rumination on recognizing love).

Angela Hall’s pragmatic and lightly comic portrayal of Lucille (the owner of Lucille’s club) is full of authority and gusto. Ms. Hall delivers a witty rendering of the classic song  “I Wish I Were in Love Again.”

Samantha Massell’s interpretation of the haughty Vera is delineated with the right combination of propriety and haughtiness. Ms. Massell’s rendition of the classic song “Bewitched , Bothered and Bewildered” is transformative in effect.

Kevin Cahoon delights in his portrayal of the amusing and worldly-wise Melvin.

Derek McLane’s scenic design is top-notch from the more low-key and atmospheric Lucille’s club to the neon-lit arches of the new “Chez Joey” nightclub with its Art Deco design.

Lighting design by Adam Honoré  is expressive with white shafts of light that convey the atmospheric feel of the nightclub ambience.

Costume design by Eilio Sosa is vividly creative and reflective of the period with stylish Art Deco costumes and more earthy costumes to reflect the everyday world.

Along with Richard LaGravenese’s new book, Lorenz Hart’s alternately sardonic, poignant, wistful, enigmatic, and ironic lyrics help to defray any potential for any possible superficially romantic tone in this musical.

Chez Joey will reward audiences who are looking for a musical that provides pleasure as well as substance. The future bodes well for Chez Joey.

Running Time: Two Hours and 30 minutes ---including a fifteen-minute intermission.

Chez Joey runs through March 15, 2026, at the Arena Stage located at 1101 6th Street, SW, Washington, DC, 20024.

Photo credit: Myles Frost and the company of Arena Stage's production of Chez Joey.

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