Beautiful

The Show

Beautiful, to quote from the attractive KPAOS show programme, portrays Carole King’s remarkable journey from songwriter to music superstar. This stage version of her story might be described as a concert compilation of her songs and other iconic hits of the period, woven around the effect of success on her personal life and relationships. As a show, it reaches a different level to ‘jukebox musicals’, by focusing on the central character’s life events and how they shape her and her music. In doing so, it takes the audience from the star-struck teenager aiming for a career as a songwriter to her emergence as a serious performer and the release of Tapestry, the 1971 album which, over 50 years later, is today still considered a masterpiece.

To be a success, Beautiful needs a first-class lead female performer. Natasha Carr’s performance as Carole King ensured this production’s success.

The Direction, Orchestration and Choreography

Joshua Taylor-Williams’s direction brought out the best in his small cast augmented by several newcomers to the society, performing cameos as well-known 60’s vocal groups Shirelles, Drifters and Righteous Brothers. Entrances were smooth and well-timed, with a high number of very quick costume changes accomplished with no sign of ‘frantic rush’. Perhaps backstage it was slightly more hectic!

To maximise space for action, the 12-piece band played visibly at the rear of the stage. In no way was this a distraction. In fact, in a show where musical performance is a key theme, it felt quite appropriate. Musical Director Reece Crane kept the music flowing in the band’s strong and balanced support for all the vocalists performing well-known 60’s hits, and the strong ensemble singing.

The entire show was well-choreographed by Jade Afflick-Goodall, who also played one of the Shirelles.

Staging was effective, with a minimal but atmospheric set, slickly moved stage furniture and ‘flown’ signage to indicate locations. Lighting was clear, sensitive and well-synchronised with individual entrances. Sound levels, dialogue vocals and band, were, similarly, well-controlled.

The Cast

The story of Beautiful takes us from the naïve teenager obsessed with the pop world, to the confident and accomplished performer with an assured place in pop music history. Played convincingly by Natasha Carr, we see Carole King’s journey through her early insecurities, her determination to cope with a domineering mother and an insecure husband, and eventual success achieved on her own terms. In a captivating performance Natasha looked, sang and acted the role with confidence and strong characterisation.

In the principal support role of Gerry Goffin, Carole King’s songwriting partner and husband, Nick Wilkins was convincing in portraying the flawed individual unable to balance musical success with domestic comforts. His temperamental highs & lows, his bouts of serious mental anxiety, and his realisation of their effect on his wife’s success were all superbly acted in Nick’s assured performance of this challenging role.

The close friends of Goffin & King, fellow songwriters Cynthia Weil and Barry Mann, are  a significant part of the story. The two couples’ friendly competition to get a ‘number one hit’, their support for the main couple experiencing marital difficulty, and their own on/off relationship, contribute an entertaining element. While Beautiful is not a show strongly focused on comedy, both Cara Gibson (Weil) and Alex Thompson (Mann) excelled in getting deserved laughs for their well-timed delivery of some good comedy lines. Cara and Alex worked well together as a couple, and their characters’ mutual respect provided a convincing contrast to the stresses of the Goffin & King relationship.

Accomplished local actor David Lovell excelled as the record producer Donnie Kirshner. David’s assured but relaxed portrayal of the ambitious pop entrepreneur was a solid and dependable characterisation, as one would expect from a performer of his experience.

In the important role of Carole King’s mother Genie Klein, Charlotte Beaver played the concerned parent with an earnestness that fitted the character perfectly. Her transition from ‘pushy’ mother, through loving grandmother and critical mother-in-law, to proud supporter of her daughter’s success, was skilfully acted with humour and affection.

The central characters were supported by an ensemble of groups, soloists and backing vocalists all well-known in late 1960’s pop music. Particularly slick, well-costumed and harmonious were The Drifters (Lewis Shaw, Andrew Bond, Shay Kubavat and Ray Samuel-McLeod) and The Shirelles (Adele Watts, Jade Afflick-Goodall, Francescia Benjamin and Carissma Giffiths).

Strong dramatic and musical support was also provided by Rosie Wilcox as Carole King’s schoolfriend Betty, Dan Creedon (Bobby Vee), Matt Brown (Nick), Kerry Smith (Marilyn Wald), Luke Evered (Neil Sedaka and a luxuriously-bearded Lou Adler), Matt & Vaughan Barton-Ashcroft (The Righteous Brothers), and by a supporting ensemble of Keziah Caldwell, Hannah McCourt, Charlene Munday. Janis Utinans and Lucy Vickery.

 

Overall, an enjoyable evening’s entertainment, enthusiastically received by a capacity first-night audience. Congratulations to Joshua, his production team and the whole company for a successful production.

Our thanks for the welcome my wife and I received on arrival. We look forward to Hairspray next year, and to meeting some of the Society’s team.

 

Colin Blackler

Noda                                                                                                                                                  November 2024

 

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.