The Four Seasons like to think they put New Jersey on the map. And maybe they did, if the national tour of the 2006 Tony-winning musical "Jersey Boys" is any indication.
The production lands somewhere between "Dreamgirls" and "Goodfellas" territory.
But from the minute these Jersey boys start singing, the magic begins. The virtuoso cast lifts your spirits with their talent, energy and charisma. This is one of the best touring musicals Seattle has seen in the last few years. Mainly because of the supercharged efforts of its four leads: They make it look easy, and do so while recreating the distinctive sounds and personalities of the legends they're portraying.
Des McAnuff directs, with music by Bob Gaudio, lyrics by Bob Crewe and book by Rick Elice and frequent Woody Allen collaborator Marshall Brickman. FYI: McAnuff steered the screen-to-stage adaptation of "The Who's Tommy," among his many theatrical successes.
Based on the lives of The Four Seasons, "Jersey Boys" delivers a behind-the-music musical tribute to vinyl heroes of the 1960s pop group - Frankie Valli, Tommy DeVito, Nick Massi and Bob Gaudio - profiling their rise from hoodlum wannabes to sparkling, tuxedo-clad stardom.
You've heard their songs in films like "Mrs. Doubtfire," "Heart and Souls" and "Dirty Dancing" and on HBO's mob mega-series, "The Sopranos," among others. Baby Boomers will wallow in the nostalgia of such golden oldies. But you don't have to be a Boomer to savor these sensations.
"Jersey Boys" exposes the group's career highs and lows as well as their personal triumphs and tragedies. Prison stints for DeVito. The impact of fame and fortune. DeVito's shady connections, self-destructive behavior, and out-of-control debts. Valli's failed marriage, the tragic death of his daughter and his life-long loyalty to DeVito. Massi's frustration and anger at DeVito's lifestyle. Gaudio's genius, boyish naïveté and drive for success.
But in the beginning they were just four blue-collar Italian boys from the wrong side of the tracks. Guys who stood under a street lamp singing somebody else's hit, then divided their time between breaking into song and breaking into jewelry stores.
Like other aspiring groups before the VH1 era, they sang in bowling alleys, hotel lounges and sleazy clubs - any place they could be heard and maybe make a name for themselves. Finally, after several gigs as backup singers, the future Four Seasons escaped the hoi polloi after they met a 17-year-old high-school dropout named Bob Gaudio, whose credits include the megahit "Short Shorts" written when he was only 15. But it wasn't until he composed the 1962 breakout hit "Sherry" that The Seasons finally found their imitable style and sound: doo wop harmonies laced with R&B influences and fabulous dance moves.
All told, you'll hear 33 numbers, a hit parade of Four Seasons solos and medleys, including "Sherry," "Walk Like a Man," "Dawn," "Ragdoll," "Who Loves You" and "Big Girls Don't Cry." Gaudio actually composed the latter after seeing the 1955 Western "Tennessee's Partner"; when John Payne slapped Rhonda Fleming, she spewed her big line, "Big girls don't cry"!
Other outstanding moments include Valli's poignant "Fallen Angel," in memory of his daughter who died of a drug overdose, and "December 1963" (Oh What a Night), inspired by Gaudio's sexual initiation. And of course, Valli's big solo hit, "Can't Take My Eyes Off of You."
Brickman and Elice's book sets this musical apart from other Broadway-bio-fests. It's packed with witty one-liners, including references to Vivaldi and T.S. Eliot sprinkled into the smart dialogue. A record producer advises the group, "Come back when you're black." Another skeptic taunts DeVito, "Stick to what you know - rob a bank." Or an officer's offhand remark to Valli: "With friends like that, you should change your name to Sinatra." And finally, Gaudio's gushy reaction to losing his virginity: "Tommy was right - it's more fun with another person."
The musical builds to a sensational finale, culminating with a reunion of
the original quartet at their induction into the Rock and Roll Hall of Fame.
Frankie Valli could wrap his voice around your heart with his three-plus octave range and siren-soprano falsetto. As Valli, the absolutely sincere Christopher Kale Jones takes those impossible high notes, but occasionally falls short as a thespian.
The multi-talented Erich Bergen, who obviously has a big career ahead of him, creates the role of composer/pianist Bob Gaudio with sublime perfection. In a laidback turn as Nick Massi, Steve Gouveia takes a mostly laid-back approach to Massi, the arranger of the group's glorious harmonies. The self-proclaimed "Ringo Starr" of the quartet, Massi also adds humor. Like when he rants at his roadie roommate DeVito for his slovenly personal habits.
A wannabe hood right out of "The Sopranos," DeVito had a penchant for high living and gambling. Deven May makes the role his own with swagger and verve. (May first made musical theater waves in America and England as the star of "Bat Boy.") A terrific talent and a huge asset to "Jersey Boys," he radiates confidence and starpower without upstaging his fellow actors. May also has a fantastic voice. As DeVito, he's alternatively funny, controlling and ruthless, yet a likeable badass.
Truth be told, when May exits the stage in Act Two, the show lags a bit, despite Jones' high-octave solos.
The sassy John Altieri nearly steals his scenes as Bob Crewe, the gay, astrology-driven impresario who charts his performers' careers by the stars: either the moon or Mercury must be in Taurus. Plus, Altieri delivers Crewe''s pithy comebacks with swishy bravado.
As Joe Pesci, the group''s obnoxious sidekick, Courter Simmons makes a feisty cameo. Yes, we're talking about the same Joe Pesci who later won an Academy Award for best supporting actor in the 1990 film "Goodfellas." But way-back-when in "Joisey," Pesci actually introduced the group to Gaudio.
With a catwalk, spiral staircase and a metal frame that occasionally turns red, Klara Zieglerova's industrial-looking scaffolding set doubles as a prison, nightclub, concert stage, recording studio and hotel room. While Howell Binkley's lighting provides showbiz atmosphere, Michael Clark's Lichtenstein-inspired pop art images play out on three screens above the action. Mixed in, you'll even see Jersey skylines and photos of the real Four Seasons.
So call it a bio-musical. Call it a jukebox saga. Call it a songbook show. Doesn't matter. Because "Jersey Boys" is dynamic entertainment. Pop culture at its very best.
'Jersey Boys'
5th Avenue Theatre
Tuesday-Sunday through Jan. 12
Tickets: $20-$88, 625-1900