Review: JERSEY BOYS at The Muny is Nostalgic and Sentimental

There are four jukebox musicals that are the elite among those in the genre. Beautiful: The Carole King Musical, Mamma Mia, & Juliet, and Jersey Boys. These four elevate jukebox musical storytelling to a different level. Of these four, and this may be a bold assertion, Jersey Boys is the best.

Most of the musicals that use songs not written for the stage rely on the iconic songbooks of legendary artists. Sure, there are plenty of guilty pleasure jukebox offerings that have been more entertaining than they should be. But relying too heavily on an artist’s catalogue cannot a musical make, and many of these shows have proven that with their lukewarm box office success.

That’s what makes the four previously mentioned musicals unique. Mamma Mia and & Juliet have entertaining original stories with pop music advancing the book’s plot. Beautiful and Jersey Boys are extremely well written biographical musicals that dramatize the lives of the artists using their familiar music as the score.

So, why is Jersey Boys the best in the genre? The simple answer is two-fold, drama and storytelling. There is plenty of dramatic fodder in the stories of Frankie Valli, Tommy DeVito, Bob Gaudio, and Nick Massi. Their relationships, rise to fame, mistakes, heartbreak, betrayals, successes, and failures are, in plain speak, interesting. Marshall Brickman and Rick Elice’s documentary style story is extremely well constructed with each member of the group telling a personal account of their story.

It explains why Jersey Boys is the most honored musical of its type. It was nominated for eight 2006 Tony Awards, winning four for Best Musical, Best Actor, Best Featured Actor, and Best Lighting design. The show ran on Broadway for 12-years, had a successful transfer to London’s West End, enjoyed a subsequent off-Broadway run, and has been performed around the globe.

This is the second time in seven years that The Muny has staged a production of Jersey Boys. This current production, directed by Maggie Burrows features Muny newcomers Pablo David Laucerica (Frankie Valli), Andrew Poston (Bob Gaudio), and Cory Jeacoma (Nick Massi). Ryan Vasquez (Tommy DeVito) returns to Muny after his hilarious turn as the dentist in 2023’s Little Shop of Horrors.

Burrows leans heavy into the nostalgia of The Four seasons, treating the production as a mid-century period piece. Her vision, strongly supported by Kylee Loera and Greg Emetaz’s vintage video projections, is warmly sentimental and reflective. She focuses on realistic portrayals. Some of the roles have a slightly different twist and are less exaggerated caricatures than in other productions. She ages Valli, DeVito, Gaudio, and Massi in a way that hasn’t been seen before to create a memorable Muny moment.

Laucerica shines as Valli. He’s youthfully exuberant and gullible as the young Frankie Castelluccio. He believably transitions into the confident and shrewd front man conveying Valli’s disappointment, hurt, anger, conviction, and leadership. Vocally he’s strong, comfortably handling Valli’s well-known falsetto. He received an extended ovation for his version of the chart-topping Cant’ Take My Eyes of You. It’s no small feat to stand alone in the vast expanse of the Muny stage and deliver a commanding performance. Laucerica rises to the occasion both vocally and dramatically.

It’s Laucerica, Jeacoma, Poston, and Vasquez’s convincing portrayals that propels this production. Dramatically, Jeacoma’s is the best among the four. His Nick Massi isn’t the butt of the joke in this production. He creates a Massi that is more self-assured and less dim than usually portrayed. Massi is a man who is making trade-offs and is cognitively aware of every choice he is making. His performance makes The Four Season’s bassist relatable. It seems completely plausible that he would walk away from fame and fortune. Jeacoma’s presence in felt in his every scene.

Poston and Vasquez are compelling rivals as the ethical Gaudio and the underhanded DeVito. Their charismatic performances give Gaudio a naïve likability and DeVito a smarmy edge. Poston’s exhilaration for his songwriting breakthroughs is palpable. He has an impressive moment with Oh What a Night. His comedic coming-of-age is well played.

Vasquez authentically captures DeVito’s swagger and overconfidence. He makes DeVito more of an off-putting antihero than a villain. Afterall, DeVito sees himself of the founding member of a group that redefined rock music with Gaudio’s songs in the 1960’s. As all four of the band members say, “without me, none of this would have happened.”

Laucerica, Jeacoma, Poston, and Vasquez shine on the early Four Season’s hits. It is always a moment mid-first act when those familiar chords of Sherry begin to thump. The men do justice to Sherry, Big Girls Don’t Cry, and Walk Like a Man. It felt fresh, much like it must have when The Four Seasons were climbing the charts and carving out their place in music history. Yes, there were times when the harmonies and vocals could have been tighter, but musically, this production is fun and enjoyable.

Unlike other productions of Jersey Boys, the band is not on stage. The 25-piece Muny orchestra is in the pit and conducted by music director Paul Byssainthe, Jr. As was consistent all season long, the Muny musicians provided stellar accompaniment. As music director, Byssainthe missed an opportunity to completely shore up the cast’s vocals.

This was the first time this season where John Shivers and David Patridge sound design was slightly underwhelming. The dialogue and vocals were completely audible, but the music wasn’t as emotionally charged and immersive as might be expected. It was immediately noticeable on the French cover version of Oh, What a Night (Ces Soirées-La) that is rapped by hip hop performers to open the show. Not having the booming concert sound and feel on most of the songs was a limiting factor in the production’s overall energy.

William Carlos Angulo’s returned to choreograph Jersey Boys after his masterful work in last season’s hip-hop inspired In the Heights. His hip-hop moves are instantly recognizable in the opening number Ces Soirées-La. Angulo entertains with retro-styles of high-energy choreography that takes the audience back six decades. His movement for The Four Seasons is broadly exaggerated to ensure it plays all the way back to the free seats at The Muny.

Fans of The Four Season and those that have seen many productions of Jersey Boys are going to enjoy Maggie Burrow’s nostalgic and fresh take. Pablo David Laucerica’s star is on the rise. He’s terrific vocally and has outstanding stage presence. He will soon be making his Broadway debut in the new musical The Queen of Versailles. Cory Jeacoma continues a fantastic legacy with Jersey Boys after previously playing Bob Gaudio in other productions. His novel take on Nick Massi is one-of-a-kind and a favorite performance in this production. He, Laucerica, and Andrew Poston make memorable Muny debuts. Ryan Vasquez is charismatic in his return to the Muny stage as the greasy Tommy DeVito. The four actors’ genuine truthful portrayals enhance Burrow’s realistic storytelling.

Nearly two decades after debuting on Broadway, Jersey Boys still feels current. Its compelling story driven by real human relationships make it an exceptionally entertaining night at the theatre. Well that, and all those memorable hit songs by Frankie Valli and The Four Seasons.

Jersey Boys at The Muny continues through August 24, 2025. Tickets can be purchased by clicking the link below or by visiting The Muny Box Office in Forest Park.