Review: BEAUTIFUL: THE CAROLE KING MUSICAL at The Argyle Theatre

A crowd favorite for its nostalgic song list from Carole King, “Beautiful” at the Argyle Theatre in Babylon has succeeded in transporting the cast, crew, and audience through the journey of chart-toppers from the 60s through the 70s.

Director Banji Aborisade captured that cultural shift with finesse with the well-coordinated choreography, character work, and costuming. With such atmospheric numbers, the singing style of the cast had to work to encompass the right vibe not only emotionally, but also technically. Aborisade’s telling of these legendary figures in music was told with quiet, but profound, nuanced attention to the changes of relationships (love) and partnerships (of music).

Musical Director Jonathan Brenner had a crisp, energetic aura throughout the over two-hour production.

Choreographer Victoria Casillo utilized the two-level, mammoth television block set for the ensemble to fill every crevice with visual interest and envelope the audience in the way the original airings of the “teeny-bopper” numbers must’ve to adolescents in the tumultuous time period.

Costume Designer Amanda Scanze shone with her visions for the Shirelles and the Drifters with hues that were bold, but also cohesive to the song.

In the leading role of Carole King was Tess Jonas. When we first meet the future Hall-of-Fame songwriter, she is commanding the stage as a one-woman show at Carnegie Hall. But the next scene is Carole as Carole Klein: sixteen, peppy, but unsure of herself. Jonas’s contrast of the confident woman at the piano in the elegant dress to literally, physically shrinking herself, is found throughout the many transformations of King. Along with her changing hairstyles (getting progressively curlier), Jonas’s voice becomes louder and louder as if it knew the lyrics would be embedded into pop culture.

Lucas James Miller as Gerry Goffin portrayed his dueling desires of family life and exciting love affairs with gravity, but still enough to make his Goffin a man of derision. In a confrontational scene with Carole, Miller’s facial expressions mimic the flashing moods of his diagnosed bipolar disorder.

Lily Daugherty as Cynthia Weil was effervescent and made for the spotlight. With beautiful diction and firecracker spirit, Daugherty was a delight in her rendition of “Happy Days Are Here Again.”

Joey LaVarco as Barry Mann made mined an impressive cache of comedic capital with the hilarious and hypochondriac lines of the character who is always suspicious of oncoming ailments. In the second act with “We Gotta Get Out of this Place,” LaVarco gives a blazing, all-heart performance as he communes with the proto-punk message of the song.

Chris Donovan as father-figure Don Kirshner had a charming combination of shrewd music executive and indulgent uncle. His presence on stage always commanded attention all the while elevating the other performers in the scene with his generous chemistry.

Kristine Zbornik as Genie Klein roared with laughter from the divorced-not-dead spouse to the hairbrush scene at Carnegia Hall. With her restraint in her performance, the serious advice she provides rings true as motherly protection.

"Beautiful: The Carole King Musical" will play through Sunday, August 30.

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