by Paula Kaplan-Reiss
When we think of the legendary Carole King, we most often picture her on the cover of her second studio album, Tapestry, sitting on a windowsill with her cat. The year was 1971. Many of us know all the lyrics, and fondly remember singing along. Most are unaware, however, that King, originally, Carole Klein, had a thriving career writing hit songs for others until she had the courage to perform her own work. The story of her early years, starting at age 16, is the subject of Beautiful: the Carole King Musical, book by Douglas McGrath, music and lyrics by Carole King, Gerry Goffin, Barry Mann, and Cynthia Weil, being performed at The REP in Albany, New York.
Fortunate to have seen the Broadway cast in 2014 starring Tony award winner, Jessie Mueller, I was eager to see this musical performed in a more intimate space. King, played by Elizabeth Nestlerode, begins the play at the apex of her career at a grand piano at Carnegie Hall. Flashing back to the late 50’s, we see a teenage Carole encouraged by her nagging mother (Jeannine Trimboll) to play classical music and become a teacher. Desperate to be a songwriter, Carole begs her mother to go off to New York City to pitch her song to Donnie Kirshner (David Girard), a believable, at times, endearing music publisher.
Experiencing almost immediate success, Carole becomes attracted to a rising composer of lyrics, Gerry Goffin (Nikita Burshteyn), and together, they become a romantic and professional item, leading to a teenage pregnancy and marriage, and a slew of pop hits performed by the Drifters and the Shirelles, to name a few.
Soon after, Cynthia Weil (Shannon Rafferty) comes to work as a lyricist for Kirshner and is paired with Barry Mann (Taylor Hilt Mitchell) as they become another successful duo in the songwriting world, often competing with King and Goffin.
Both couples are prolific hit writers, yet King and Goffin struggle in their personal relationship, with Goffin experiencing mental health issues and straying in their marriage.
Nestlerode embodies King and evolves as she grows as a woman and an artist. She has a wonderful rock voice, looks the part and has great chemistry with the actors playing Goffin, Mann, and Weil. Her humility comes through, even as her talent blossoms.
Burshteyn, as Goffin, displays his talent, his emotional instability, and his wandering eye as King’s partner. Together, they make magical songs as their relationship crumbles.
Mitchell and Rafferty, as Mann and Weil, are hysterically funny and inject humor and laughter into this musical. From Weil singing parodied lyrics to “Happy Days Are Here Again,” while begging for a job from Kirshner, to Mann playing the ultimate neurotic hypochondriac, while falling in love with Weil, they make us laugh every time they are on stage. They are wonderfully entertaining.
The large ensemble plays everything from Neil Sedaka to Little Eva to The Drifters to the Shirelles. They bring every song to life with incredible energy, bright costumes and 60s choreography by Freddy Ramirez
Music is everything in this jukebox musical. Music Direction by Todd Olson, the band plays behind the set, with believable ‘piano playing’ by King, Goffin, and Mann. With over 25 familiar songs spanning the late 50’s to the early 70’s, we hear “So Far Away.” ‘Take Good Care of My Baby,” “Up on the Roof,” and “On Broadway,” plus many more. As King pours her emotions in her work and her eventual solo album, she sings, “Will You Love Me Tomorrow,” “It’s Too Late,” and eventually the title song, “Beautiful.” We walk in and walk out of this musical humming.
Maggie Mancinelli-Cahill directs Beautiful with a spare stage in front of a set of varying size rotating rectangular columns. Continually changing projections depict the New York City skyline, groovy 60’s designs, and bright neon lights. Set Designer, Christopher Roton and Lighting and Projection Designers, Travis McHale and Katerina Vitaly, create a dramatic effect. Stage crew and cast members swiftly move simple set pieces in each scene enabling the musical to maintain a quick pace through the passage of music eras. On a thrust stage, Mancinelli-Cahill ensures the action can be seen on all sides.
Costume Designer, Howard Tsvi Kaplan outdoes himself with vivid ensembles for every singer in the Shirelles and the Drifters, often changing costumes with every new song. While Carole is dressed more simply, eventually becoming more earthy in embroidered wear and long dresses, Weil wears fabulous, fitted color-blocked clothing highlighting her attention to style and fashion. Less success was the use of numerous wigs styled by Michael Dunn.
The REP is a perfect setting to see Nestlerode play King up close and personal. We feel her passion, her gift, her pain and her resolve as she deals with heartbreak and becomes the star she is meant to be. We become overwhelmed with the contributions she makes to the world of popular music and the success of so many musical groups. Carole King is a Beautiful, Natural Woman. Make sure you head to see Beautiful before It’s Too Late.
Capital Repertory Theatre presents “Beautiful: The Carole King Musical” book by Douglas McGrath, music and lyrics by Carole King, Gerry Goffin, Barry Mann, and Cynthia Weil, directed by Maggie Mancinelli-Cahill, July 12-August 18, 2024. CAST: Elizabeth Nestlerode as Carole King; Nikita Burshteyn as Gerry Goffin; Teisha Duncan as Uptown Girl/Shirelle (Beverly)/One Fine Day Singer; David Girard as Donnie Kirshner/Carnegie Hall Announcer; Brian Michael Henry as Bill Medley, Dick Clark v.o., Nick, Lou Adler; Trisha Jeffrey as Shirelle (Shirley Owens)/Lucille/One Fine Day Singer; Stavros Koumbaros as RB Bobby Hatfield/Neil Sedaka/ Barry Mann US/Gerry Goffin US; Damon McToy as Drifter/Lead Drifter US; Cal Mitchell as Drifter; Taylor Hilt Mitchell as Barry Mann/Dance Captain; Shannon Rafferty as Cynthia Weil/Carole King US; Byron St. Cyr as Drifter; Lauren Wilmore as Shirelle (Doris)/Janelle); Christian A. Boyd as Drifter/Drifter Specialty US; Ethan Crowley as Drifter Cover; Deirdre Dunkin as Shirelle (Micki)/Little Eva/One Fine Day Singer; Madalyn Montgomery as US Betty/Ensemble/Assistant To The ASM Team; Jeannine Trimboli as Genie Klein; Adriana Vicinanzo as Betty/Ensemble; Nicole Zelka as Marilyn Wald/Cynthia Weil US.
CREATIVE TEAM: Production Stage Manager Kate Kern; 1st Assistant Stage Manager Michaela Savoie; 2nd Assistant Stage Manager/Donnie Kirshner US Shayne David Cameris; Casting Director Stephanie Klapper; Todd Olsen Music Director/ Arranger; Choreographer Freddy Ramirez; Scenic Designer Christopher Rhoton+; Lighting Designer Travis McHale+; Costume Designer Howard Tsvi Kaplan+; Sound Designer Jeffrey Salerno; Video Designer Katerina Vitaly+;