Beautiful _ The Carole King Musical

Beautiful: The Carole King Musical was written by Douglas McGrath with Musical Arrangement by Steve Sidwell. It is a vibrant, emotionally rich jukebox musical that chronicles the life and career of one of America’s most iconic songwriters, Carole King. With its strong blend of nostalgia, humor, and heartache, the show captures the essence of King’s meteoric rise from a Brooklyn teenager with dreams of songwriting to becoming one of the most successful and influential female musicians of the 20th century. The musical seamlessly weaves together King’s music with the story of her life, balancing her personal struggles and triumphs with the evolution of the music industry.

Carole King is the heart and soul of the musical, and much rests on the actor’s ability to channel her transformation from a timid young songwriter to an empowered and independent artist. Helen Claire Rose portrayed the tender vulnerability that then transforms into a quiet, confident strength with such poise it was hard to not go on her journey with her. As King faces personal and professional challenges Helen guided the audience with real tenderness. A great voice is essential here, as they must replicate King’s signature soulful yet earthy vocals, well Longwood hit the jackpot with Helen.

Sam Maurice as Gerry Goffin, Carole King’s songwriting partner and first husband, is a complex character whose arc is central to King’s personal growth. Sam portrayed the charismatic, talented, but troubled man superbly. Sam was skillful at navigating the struggles Gerry has with mental health as we witness the dissolution of his marriage with King. Sam has a striking singing voice and was a joy to watch.

Cynthia Weil and Barry Mann are the show’s comedic and musical foil to Carole and Gerry. A fellow songwriting duo, their competitive yet friendly relationship with Carole and Gerry adds lightness and energy to the narrative. Cynthia, Jessica Faye, portrayed the witty, independent and fiercely confident expertly, giving us a sharp contrast to Carole’s quieter demeanor. Barry, Ben Maffin, was hilarious as the neurotic, charming, and immensely talented Barry Mann. As a duo they excelled and Ben treated the audience to bit of live guitar.

Samantha Hughes was outstanding and gave a top drawer performance as the mother of Carole, Genie Kline. A woman that’s really been through it and wants to try to protect her daughter. I could feel in Samantha’s performance that at her heart she is a mother who loves her daughter to her core, she believes in her and wants the absolute best for her.

Adam Peel was Donny Kirshner the music publisher and talent manager known as the Man with the Golden Ear. Adam was great to watch and had the audience smiling every time he was on stage.  

One of the show’s standout features is its effective use of the ensemble cast and the band, all of which contribute significantly to the atmosphere and energy of the production. The ensemble is tasked with bringing to life the artists for whom Carole and her fellow songwriters crafted hits, including the most excellent versions of The Drifters, Chris Knight Joel McKay Lindon Nugent and Clarence Ricketts and The Shirelles, Michelle Brown Angela Gerald Vanessa Hanson and Monique Slattery. Little Eva made an appearance protryed by Emily O’Sullivan.  They all performed iconic songs like “Will You Love Me Tomorrow,” “The Locomotion,” and “One Fine Day,” and quality vocals matched their choreography. Vibrant costumes lit the stage with a sense of the era’s musical diversity. Jonny Kain and Tom Waltham were incredible as the Righteous Brothers and brought the house down with “You’ve lost that lovin feeling” They captured the essence of the artists they’re depicting without veering into impersonation, delivering polished, energetic performances that heighten the show’s sense of nostalgia.

Anne-Marie Beer, Hannah Marie, Leah Stansfield, Kira Ball, Ian Bell, Isabelle Barker, Katie Beadle, Chris Comber, Lily England, Dan Fallows, Kath Jones, Julie Mallinson, Teresa Malone, Katie McKay, Emmie Pearce, Gray Preston, Anne-Marie Senior, Emman Sykes, Sarah Taylor and not forgetting Emma Stead added the most important part of any production, the support to allow the principles to do their thing. Each ensemble member often has to shift quickly between different musical styles, as they portray various acts and scenes from the 1960s and 70’s.  The ensemble’s precise harmonies and fluid choreography contribute to the musical’s overall sense of polish. Congratulations must go to Tori Taylor for some great period choreography.

The decision to have the band visible on stage further enhances the audience’s immersion into the world of pop music. Rather than being hidden in the orchestra pit, the band members often felt incorporated into the action, providing an authentic, live-performance feel. Their presence adds a layer of intimacy to the production, making the audience feel as if they are witnessing the songs being created in real-time. Scott Kitchen as MD for Beautiful must be very proud of the sound that has been created. Tight musically they were another principle cast member. It also reinforces the collaborative nature of songwriting, where the music and lyrics are created in a shared space of creativity.

Of course, no review of Beautiful would be complete without addressing the music itself. King’s catalog of songs is beautifully incorporated into the narrative, functioning not only as a soundtrack to her life but also as a reflection of her personal and professional journey. From early hits like “Take Good Care of My Baby” and “It Might as Well Rain Until September,” which capture the innocence of youth, to later, more introspective songs like “So Far Away” and “You’ve Got a Friend,” the music tells a parallel story of growth and self-discovery.

Directed by Martin Stead he gave a structure to the performers to follow but allowed a lot of natural movement. He has guided a powerful tribute to an extraordinary artist whose music has touched generations and squeezed pure gold from the cast and this is at the heart of the show’s success. Jukebox musicals can very easily become twee but Martin captured the emotional highs and lows of King’s life with grace and authenticity.

Longwood Theatre Productions are celebrating 100 years serving the community of Huddersfield with quality entertainment. Beautiful: The Carole King Musical was most befitting of this very special year and I was incredibly proud to witness it.

My deepest thanks go to all the lovely people who worked front of house, costumes, hair and make up as you are the glue that binds this together.

 

 

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