It goes without saying that those who fondly remember when the score to this musical was actually part of the hit parade will have a great time, but what about the rest of us? Not to worry: this autobiographical account of the rise of Frankie Valli and the Four Seasons from New Jersey street corners to the top of the charts is a compelling story really well told, even if you couldn’t care less about, or know a note of, the music itself. This is hardly the whitewashed version of a group’s life a la “A Hard Day’s Night” or “The Monkees,” but the real deal complete with thugs, gangsters, drug addicts, true music-industry types, “friends” who stab you in the back, what it is like to live out of a suitcase and with other guys for years on the road (“the guy changes his underwear every three days” rings so true to those who have had that experience) and what happens to your kids when you’re never home. And yes, the rest is the music, that trademark falsetto sound singing pop hooks that found that spot in the center of your brain and wouldn’t let go, even if you prayed that they would. The trademark harmonies are reverently reproduced, although sometimes with key signatures lowered and synthesized augmentation and often with original instruments of the period used merely as props. But there is still no denying that the overall effect is a high-energy, extraordinary evening of entertainment. (Dennis Polkow)
At Bank of America Theatre, 18 W. Monroe, (312)902-1400. $37.50-$162.50. Through January 10, 2010.
A Story for Everyone: A Review of "1776" at Broadway in Chicago “1776” took our Founding Fathers off their pedestals and revealed them as clay-footed human beings who passionately squabbled over something as fundamental as American independence. Directors Diane Paulus and Jeffrey L. Page have a fresh take.
We Are All Refugees: A Review of "Fiddler on the Roof" at Broadway in Chicago When Israeli actor Yehezkel Lazarov as Tevye intones the iconic line about villagers “trying to scratch out a pleasant, simple tune” without breaking one’s neck, our gaze takes in the present along with the past. The struggle then is the struggle now.
Russian Dressing: A Review of Anastasia at Broadway in Chicago The real magic of this show are the songs by composer Stephen Flaherty and lyricist Lynn Ahrens. Terrence McNally (book), Flaherty and Ahrens are the same triptych that gave us “Ragtime,” and there is a similar feel here, albeit with a distinctively Russian flavor.
