You made a fool of me so now I'm leaving you...
Presented by characters based on the original members of The Four Seasons, Jersey Boys is an incredibly clever history lesson wrapped around some of the greatest songs of our time.
The musical opens with a contemporary French pop-rap version of December 1963 (Oh, What A Night) - Ces Soirées-Là - and Tommy DeVito steps forward to reveal that it's their song, charting in Paris almost forty years after its original release.
He goes on to begin the tale about how it all happened and sets the scene in Belleville, New Jersey as the group he's trying to put together finds its feet. It's a whirlwind of singing under street lights, playing seedy venues, serving time, and showing "brass ring" Frankie Valli (formerly Castelluccio) the ropes - as well as introducing him to his future wife (Mary DelGado).
Bob Gaudio takes over narrating when he auditions for the group. Formerly a child star who wrote and toured with Short Shorts, he doesn't seem particularly interested in the group until hearing Valli sing, citing that he'd never heard a voice like it. He performs an original (Cry For Me), with Valli, Nick Massi and DeVito joining him around the piano with their instruments and harmonies; the quartet is born.
They record a demo and send them out to record companies, meeting the legendary Bob Crewe in their quest to be signed. He promises them an income if they sing back-up for his artists, as well as the chance to record when they bring him a hit song.
It's during this time that the group finally settles on a name for themselves; The Four Seasons. And the musical really kicks off, building to their first hit release - Sherry - performed live on American Bandstand, with original video footage interwoven with the musical performers on the screens. It's closely followed by Big Girls Don't Cry, Walk Like A Man, and December 1963 (Oh What A Night).
They're selling millions of records, touring extensively, reaching the height of their success, when a loan shark comes to collect on money owed by Tommy, bringing Act I to a tense conclusion.
Nick takes centre stage at the beginning of Act 2 to shed light on the issues brewing behind the scenes before the big stand-off. The growing divide between Frankie and Tommy, the effect of Frankie and Gaudio's partnership on the group; Tommy's failure to take the group and his commitments seriously.
It brings Tommy's gambling problem to the fore, as well as the debt he's accumulated in running the group. Frankie makes the decision to buy Tommy out, essentially ejecting him from the band, taking on his debt in exchange. To the surprise and confusion of everyone, Nick also chooses to leave.
The final quarter sees Frankie take the lead as storyteller, as well as of the band - now 'Frankie Valli and The Four Seasons' - with three new members and Gaudio opting for a writer/producer role. In spite of Frankie's family problems, he and Gaudio manage to dig their way out of the financial rut left by Tommy with smash hits like Bye Bye Baby, Can't Take My Eyes Off You and Working My Way Back To You.
The original line-up are reunited onstage twenty years later for a performance celebrating their induction into The Rock'n'Roll Hall of Fame. They each give an epilogue on their time in the group and their current lives, before joining together one last time for the finale - Who Loves You.
While dividing their sections into "four seasons" (Spring, Summer, Fall, Winter) seems ineffectual, letting the story unfold through the eyes of each of the band members is a stroke of genius. It enhances the drama and authenticity of the plot, while providing a conscience for their actions.
The production includes some of the darkest times of Four Seasons' career (as a group and in their personal lives), but balances them out with humour, the camaraderie of a 'boys club', and the occasional use of music instead of dialogue (My Eyes Adored You when Valli's first marriage falls apart, Fallen Angel when he loses his daughter).
Songs are woven seamlessly into the storyline and their introductions build suspense, culminating in surprise for those who may not know the history: Gaudio's stories behind Big Girls Don't Cry and Oh What A Night as well as his role in securing the release of Can't Take My Eyes Off You when no-one else had faith in the track.
The stage is fully utilised, with some of the cleverest sets I've ever seen. There's a fantastic moment in the first half where the group perform Dawn (Go Away) and the audience is treated to a 'backstage' view as the quartet turn their backs, playing to the backdrop of blinding lights and flashes, as reporters, record executives, and the like gather in the wings to watch.
There are so many levels on which this musical impressed me. I expected to go along and hear some great songs, but I wasn't expecting to walk away with a newfound respect for The Four Seasons, specifically song writing genius, Bob Gaudio. Nor did I expect to be shocked by just how many hits this group was responsible for.
And that's where Jersey Boys has the edge over most productions. It meets all the criteria for a musical (singing, dancing, drama, climax, conclusion) and features original material, whilst presenting a veritable account of its tag line: The Story of Frankie Valli and the Four Seasons.
After seeing it twice in Melbourne and twice in Sydney - with two years between viewings - I am so impressed at how far the actors have come. People talk about how brilliant Bobby Fox is as Frankie Valli (and he is), but I'm most impressed with Stephen Mahy. He has tuned Bob Gaudio's accent to a tee and it was a special treat to see him performing in his opening and closing weeks with Jersey Boys.
The musical opens with a contemporary French pop-rap version of December 1963 (Oh, What A Night) - Ces Soirées-Là - and Tommy DeVito steps forward to reveal that it's their song, charting in Paris almost forty years after its original release.
He goes on to begin the tale about how it all happened and sets the scene in Belleville, New Jersey as the group he's trying to put together finds its feet. It's a whirlwind of singing under street lights, playing seedy venues, serving time, and showing "brass ring" Frankie Valli (formerly Castelluccio) the ropes - as well as introducing him to his future wife (Mary DelGado).
Bob Gaudio takes over narrating when he auditions for the group. Formerly a child star who wrote and toured with Short Shorts, he doesn't seem particularly interested in the group until hearing Valli sing, citing that he'd never heard a voice like it. He performs an original (Cry For Me), with Valli, Nick Massi and DeVito joining him around the piano with their instruments and harmonies; the quartet is born.
They record a demo and send them out to record companies, meeting the legendary Bob Crewe in their quest to be signed. He promises them an income if they sing back-up for his artists, as well as the chance to record when they bring him a hit song.
It's during this time that the group finally settles on a name for themselves; The Four Seasons. And the musical really kicks off, building to their first hit release - Sherry - performed live on American Bandstand, with original video footage interwoven with the musical performers on the screens. It's closely followed by Big Girls Don't Cry, Walk Like A Man, and December 1963 (Oh What A Night).
They're selling millions of records, touring extensively, reaching the height of their success, when a loan shark comes to collect on money owed by Tommy, bringing Act I to a tense conclusion.
Nick takes centre stage at the beginning of Act 2 to shed light on the issues brewing behind the scenes before the big stand-off. The growing divide between Frankie and Tommy, the effect of Frankie and Gaudio's partnership on the group; Tommy's failure to take the group and his commitments seriously.
It brings Tommy's gambling problem to the fore, as well as the debt he's accumulated in running the group. Frankie makes the decision to buy Tommy out, essentially ejecting him from the band, taking on his debt in exchange. To the surprise and confusion of everyone, Nick also chooses to leave.
The final quarter sees Frankie take the lead as storyteller, as well as of the band - now 'Frankie Valli and The Four Seasons' - with three new members and Gaudio opting for a writer/producer role. In spite of Frankie's family problems, he and Gaudio manage to dig their way out of the financial rut left by Tommy with smash hits like Bye Bye Baby, Can't Take My Eyes Off You and Working My Way Back To You.
The original line-up are reunited onstage twenty years later for a performance celebrating their induction into The Rock'n'Roll Hall of Fame. They each give an epilogue on their time in the group and their current lives, before joining together one last time for the finale - Who Loves You.
While dividing their sections into "four seasons" (Spring, Summer, Fall, Winter) seems ineffectual, letting the story unfold through the eyes of each of the band members is a stroke of genius. It enhances the drama and authenticity of the plot, while providing a conscience for their actions.
The production includes some of the darkest times of Four Seasons' career (as a group and in their personal lives), but balances them out with humour, the camaraderie of a 'boys club', and the occasional use of music instead of dialogue (My Eyes Adored You when Valli's first marriage falls apart, Fallen Angel when he loses his daughter).
Songs are woven seamlessly into the storyline and their introductions build suspense, culminating in surprise for those who may not know the history: Gaudio's stories behind Big Girls Don't Cry and Oh What A Night as well as his role in securing the release of Can't Take My Eyes Off You when no-one else had faith in the track.
The stage is fully utilised, with some of the cleverest sets I've ever seen. There's a fantastic moment in the first half where the group perform Dawn (Go Away) and the audience is treated to a 'backstage' view as the quartet turn their backs, playing to the backdrop of blinding lights and flashes, as reporters, record executives, and the like gather in the wings to watch.
There are so many levels on which this musical impressed me. I expected to go along and hear some great songs, but I wasn't expecting to walk away with a newfound respect for The Four Seasons, specifically song writing genius, Bob Gaudio. Nor did I expect to be shocked by just how many hits this group was responsible for.
And that's where Jersey Boys has the edge over most productions. It meets all the criteria for a musical (singing, dancing, drama, climax, conclusion) and features original material, whilst presenting a veritable account of its tag line: The Story of Frankie Valli and the Four Seasons.
After seeing it twice in Melbourne and twice in Sydney - with two years between viewings - I am so impressed at how far the actors have come. People talk about how brilliant Bobby Fox is as Frankie Valli (and he is), but I'm most impressed with Stephen Mahy. He has tuned Bob Gaudio's accent to a tee and it was a special treat to see him performing in his opening and closing weeks with Jersey Boys.
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