Review: BEAUTIFUL THE CAROLE KING MUSICAL at Winspear Opera House

BEAUTIFUL: THE CAROLE KING MUSICAL might not have the same soundtrack as Beyoncé's recent LEMONADE album, but there's enough dirty laundry aired in this musical biography to rival Ms. Knowles' infamous troubles. "So Far Away," "Will You Still Love Me Tomorrow," "The Locomotion," "It's Too Late," and "You Make Me Feel (Like A Natural Woman)" are just a few of the many hit songs that captivated audiences on Dallas' opening night of BEAUTIFUL at the Winspear Opera House. However, it wasn't just the songs that stirred the crowd, but the heart-wrenching story of Ms. King, a middle-class New York teenager who found fame and fortune in the public eye, yet kept a great deal of secret pain in her private life.

As the plot (which, although biographical, at times seemed trite and derivative) leads us along King's path to success in the music industry, we're first brought into her childhood home, where King's bitter mother constantly laments the loss of her ex-husband. King has begun college at only 16 years old, but is a talented composer and soon starts selling her music for other rock and roll groups to sing. After a passionate meeting with her soon-to-be lyricist partner (Gerry Goffin, played by Liam Tobin), King has a child, they wed, and the two begin writing hit after hit. As their good friends and colleagues Cynthia Weil (the dynamic Becky Gulsvig) and Barry Mann (well-played by Ben Faulkhauser) start to hit it off, Goffin finds himself unfulfilled, which quickly drives a wedge into his relationship. The musical jumps back and forth from jukebox musical to drama toward the end of Act One, when Carole finds herself betrayed by the man she shares both her home and career with.

As Carole King, Abbie Mueller's transformation from the sixteen-year-old songwriter to the 1970's chart-topping singer is impressive. Her ease and natural ability onstage creates an organic energy for the low-key "natural woman" King is known to be. Although Mueller has King's look, voice, and accent down to a science, her nuanced performance never crosses the line into an impersonation. Her tempered energy also keeps her from becoming a musical theatre-style caricature, although her vocal styling and appearance could make her a killer Fanny Brice, should FUNNY GIRL be revived anytime soon. Coincidently, Ms. Mueller's older sister (Jessie Mueller) won a Tony Award for creating this role of Carole King on Broadway in 2014.

Alongside Mueller is a bevy of triple-threat performers from the Great White Way, who each get their chance in the spotlight as the singers of yesteryear: The Drifters, The Shirelles, Little Eva, and The Righteous Brothers. Although it was a small moment compared to the rest of the show, I have to praise the woman playing Little Eva (ensemble member Ashley Blanchet): the enthusiasm coming out of her during "The Locomotion" was contagious. Ms. Blanchet, who also played the role on Broadway, deserves far more time center stage.

If the opening night response is any indication, BEAUTIFUL: THE CAROLE KING MUSICAL is not only a crowd pleaser, but a moving trip down memory lane. However, you need not be a Carole King fan to find yourself swept away by her songs and engaged in her narrative. This is the inspiring story of an independent woman who made her own way through life and had the drive to never give up, and the heart to risk everything for love. See for yourself at the Winspear Opera House before June 19th. For tickets and more information, visit www.ATTPAC.org.

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