Review: BEAUTIFUL: THE CAROLE KING STORY At The Studio Theatre

Broadway World had a bonding experience with fellow audience members during The Studio Theatre, 320 W. 7th St., in Little Rock, production of BEAUTIFUL: THE Carole King STORY this past weekend. We had so much fun singing to hits like “So Far Away” and “I Feel the Earth Move,” and we all had strong feelings about her husband. There is one more weekend, Thursday, Nov. 9, through Sunday, Nov. 12, to catch this uplifting jukebox musical that will have you humming well after you’ve gone “So Far Away.” 

Carole King (Mikala Hicks) is a teenage songwriter who wants to sell her song “It Might As Well Rain In September,” which has been turned down numerous times. She decides to try one more time, this time with Donny Kirschner (Danny Troillett). Her mother Genie Klein (Cheryl Troillett) isn’t thrilled she’s going into the city and tells her if she doesn’t sell it this time, she goes to school to teach. So, with her friend Betty (Belle Overstreet), they head to the office and get a deal. Then, while at school, she meets hunky wannabe playwright Gerry Goffin (Luke Ferguson), who begins helping her with lyrics. They become a writing duo, start writing hits, and compete with Barry Mann (Caleb Patton) of “Who Put the Bomp” fame and Cynthia Weil (Kinsey Potts).  As the show progresses, songs are made, hearts are broken, and Carole ends up writing the album “Tapestry,” which earns her two Grammys in 1972. 

With Book by Douglas McGrath, Words and Music by Gerry Goffin, Carole King, Barry Mann and Cynthia Weil, and Directed by Justin A. Pike, I learned a lot during this musical. I was familiar with “Tapestry,” but I had no idea she wrote so many hits in the 60s. I love 60s music! --absolutely no idea such classics came from King/Goffin. There were “Will You Love Me Tomorrow” with The Shirelles, “The Locomotion” with their babysitter Little Eva, “Up On The Roof” with The Drifters, and so many others. This soundtrack is the best! I read in an article that interviewed Cynthia Weil that this musical was pretty accurate to King’s real life. Weil said that some things were moved around slightly, but the couples did have a competition with each other, and the stories about the songs were all true.  

This cast did a great job of taking us back in music history. Hicks did a phenomenal job as Carole King. Even though I was at an angle where I could see she wasn’t really playing the piano, the spirit was still there. Hicks was soulful, sang beautifully, and was convincing as a woman in love. The whole audience was captivated by her essence, and by the end of the show, we were all ready to protect her from more heartache. Ferguson obviously portrayed his character of her husband correctly, because we were all ready to boot him out of her life. By the end, we were audibly tired of Goffin inserting his life into hers.  

Patton and Potts made a fascinating team. I loved how Patton really committed to his character’s many medical neurosis, and Potts vocals were impressive. Danny Troillett’s Donny was stern in a comical way, and Cheryl Troillett’s Genie was matriarchal in a nervous sort of way. 

It was fun to see how the ensemble switched in and out for the different music groups. Paige Alexander, Ariel Bronson, Charity Broyles, Beckham Bunche, Mya Conway, and Evan Hamilton all swayed their way through the multiple combos that dominated the charts during the 60s. Matthew Burns and Dakota Mansfield version of the Righteous Brothers was especially amusing.  

The costumes (Izzy Hammonds) were beautiful, the choreography (Paige Alexander) was similar to how they used to perform, and the set (Drew Posey) was indicative to what the stages looked like during that period. It all made me feel like I was part of that world from 60 years ago. 

For more information and tickets, visit their website at https://www.studiotheatrelr.com. 

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