Curve, Leicester
3rd March 2022
“Sometimes, it goes the way you want, and
sometimes it doesn't. And sometimes, when it doesn't, you find something
beautiful”
Singer-Songwriter Carole King delivers
the above line at the top of the show sat at a piano in her 1971 concert at
Carnegie Hall. The musical, which premiered on Broadway in 2014, then goes back
to chart her early song-writing days, relationship with Gerry Goffin, and
friendship with fellow songwriters Cynthia Weil and Barry Mann. We see King’s
journey, from turning out hits at 1650 Broadway for the biggest household names
to how she broke the mould of what a star can be. Nikolai Foster’s new
production, which opened last night just weeks after King’s 80th
birthday, shows that cultural shift with élan. Particularly impressive is that
this is an actor-musician production which adds an extra level of authenticity
and playfulness.
In the first act, we see King and
Goffin writing songs for the likes of The Shirelles and The Drifters, and their
friendly competition with Weil and Mann to write for those big artists. There’s
so much joy in witnessing the magic-like quality of the song-writing process:
King’s knack for melody with Goffin’s meaningful yet simple lyrics; the
frustration of matching the right song with the right artist; their sleepless
drive to make music. There’s a series of impressive set pieces including Weil
and Mann’s ‘You’ve Lost that Lovin’ Feelin’’ being sung by The Righteous Brothers
while Weil and Mann are jamming behind them on their sofa, and ‘The Locomotion’
performed on roller skates.
Although it’s the songs which stand
out, Douglas McGrath’s book is first-class. It’s bubbly, full of observational one-liners
and perfectly captures the New York vibe like a Neil Simon comedy. A particularly
favourite line was when Mann likens moving in with Weil to his continuing
audition for marriage. McGrath also cleverly builds in references to the cat and
window seat from her album cover for Tapestry
to show how King wanted to move away from the glitz and glamour of the New York
scene. This is all played out on Frankie Bradshaw’s handsome recording studio set,
with a proscenium arch made up of acoustic wall panels and everything stamped
with [Property of 1650 Broadway]. Her
design takes us from the studio’s functional hub of creativity to glitzy TV
studios, Brooklyn apartments and Carnegie Hall. It marries well with Ben
Cracknell’s lighting design – I especially enjoyed the effect of the plane
landing in Los Angeles to mark that pivotal moment in King’s creative and
personal life.
Molly-Grace Cutler not only
captures the look and iconic raspy voice of Carole King, she encapsulates her spirit,
humour and raw talent. But Foster’s production allows everyone to shine. Seren
Sandham-Davies and Jos Slovick are a brilliant pairing as Cynthia and Barry: Cynthia’s
self-confidence against Barry’s Woody Allen-esque awkwardness are played beautifully.
Tom Milner adds depth with his portrayal of Gerry Goffin, capturing his creative
frustrations and difficulties. Garry Robson also provides great support as the producer
Donnie Kirshner.
It struck me that, if Dimension
Records was a hit factory for music in the 60s, Curve could well be the theatrical
equivalent of today. Beautiful is
full of character, heart and great songs. It’s a sheer delight.
Beautiful plays at
Curve, Leicester, until 12th March and then tours. It is a
co-production between Curve, Theatre Royal Bath and Southampton’s Mayflower
Theatre. For further information please visit https://www.curveonline.co.uk/whats-on/shows/beautiful-the-carole-king-musical/
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| Molly-Grace Cutler and Tom Milner in Beautiful - The Carole King Musical - Photography by Ellie Kurttz |
