Theater review by Adam Cohen…

“What are you going to see?” asks my daughter as I make my way towards Paper Mill Playhouse – a theater in Millburn, New Jersey she happens to love.

“Jersey Boys.  A musical.”

“What’s it about?”

“A band of singers that made it big in the 1960s and struggled due to hubris, greed, youth.  And they are all from New Jersey.  True story of Frankie Valli and the Four Seasons.”

“What did they sing?”

“What didn’t they sing? Big Girls Don’t Cry.  Sherry.  Walk Like A Man.  December 1963 (Oh What A Night.”

“Enjoy.”  She hangs up.  At 19, she veers more towards Taylor Swift than the vibrant tunes of the Four Seasons.  Her youth can be excused for a lack of musical education.  

Now playing through November 3rd, Paper Mill’s production of “Jersey Boys” directed by Michael Bello, perfectly captures the times and tensions of the renowned Rock and Roll Hall of Famers Frankie Valli and the Four Seasons.

If you’re not a Four Seasons aficionado, this is a show full of “Oh, did they write that?!” moments, from Beggin’ to My Eyes Adored You.  Set in New Jersey in the early 1960s, the Tony-winning musical backed by the songs as Bob Gaudio and Bob Crewe wrote them. Similarly straightforward is the double staircase set; the tight on-the-spot choreography, with its rigid-backed stomp and click; the pithy script (co-written by Rick Elice and Marshall Brickman). And it works aptly for Paper Mill’s Jersey-oriented audience happy to clap at town call outs as the Four Season’s reveal their hometowns, digs at the New York named teams playing in the Meadowlands, and the familiar songs. 

It’s a good story, of mob connections, bad debts, prison spells, soaring success and the band imploding – and as soaring as the songs and dancing are – the show could easily work without the music.  That’s because each member of the band is so uniquely idiosyncratic. They get some time breaking fourth wall, narrating chunks of the story.  Tommy DeVito, founder of the band, is in and out of prison but hugely protective of Frankie.  That he has a gambling problem – big issue for act two.  Jake Bentley Young perfectly captures the balance of charm, ego, subtle malevolence, and protectiveness required for the role.  

Robert Lenzi’s Nick Massi is the most subdued of the group, reluctant to be in the spotlight, but has an inner intelligence that balances the personalities.  As Bob Gaudio – principal songwriter and youngest member of the group, Ben Diamond is fine.  He wrings the role’s creative tension, level-headed business mindedness of a genius, and horizon view of the future perfectly.  

Intense and intent on achieving the greatness and success Gaudio senses are just a matter of time and timing, he works to develop the signature sound and look that will eventually come to be forever associated with the original Four Seasons. With Sherry, Big Girls Don’t Cry, and Walk Like a Man, Gaudio’s song-writing skills thrust the group into the spotlight they’ve been chasing through bars, state fairs, hotel lounges,and seamy nightclubs. 

Daniel Quadrino, as Frankie, lead singer and the character around which most of the story revolves sings gorgeously.  He seemingly effortlessly hits the requisite notes and dances with an agile ease and grace.  It’s a joyful performance and he reaches as much pathos as the by-the-numbers book allows. It’s a rare feat at this level not just to be able to handle the falsetto required, but to do it with the level of control that Quadrino does. Vocally, the four are beautifully cast and render the classics lushly.  Revel in the iconic high falsetto notes hit with absolute purity and assurance.  

Any fan of The Four Seasons will appreciate this quartet’s ability and the graceful, respectful way they honor the music and the history of the band through their performance. Effortlessly breaking into song at the drop of a note, they vocalize and harmonize to perfection, mesmerizing the audience with their replication of the Four Seasons’ signature sound in every number. Every song is nothing less than stunning in its perfect capture of the classic Four Seasons sound.

Where the show lets the audience down is the usage of the group’s wives, daughters, girlfriends, opening act, mothers, and mistresses.  The amply talented Amber Ardolino, Kelly Belarmino,  Holli’ Conway and Kaitlyn Frank are largely wasted in barely written, blink and you’ll miss them roles. 

 Kyli Rae’s choreography is rendered beautifully and is a talent on the rise. Geoffrey Ko’s musical direction is spot on – nicely balancing harmonies, a pert band, and lush sounds.  The work is ably supported by Megumi Katayama’s sound design.  Kelly James Tighe’s set has a gorgeous city drop, street lamp, and meaningful neon signs.  It’s spare, efficient, and nicely evocative of many locations especially the group’s Newark roots. Michael Bello’s direction is taut and efficient.  The use of character’s leaving through the back of the set into Paige Seber’s bright lighting is overdone and the one let down.  Seber’s lighting is evocative and aptly sets tone and temperature.

Jersey Boys is a nostalgic trip down memory lane for any fan of The Four Seasons, or the music of their generation. From the streets of New Jersey to the lights of Las Vegas and so many stops in between, Jersey Boys follows this quartet through all of it, the highs and the lows, the trouble, and the triumphs.  And the familiar songs heighten the jukebox musical story with incredible vocals and riveting performances, made even more impressive and impactful because it is not “too good to be true” but true.  The lives, loves, losses, loyalties, and legacies of four guys from the Garden State unfold in almost perpetual motion and emotion.  

Photos: Jeremy Daniel