Tuacahn’s JERSEY BOYS Is There To Make It Right

IVINS —  Jukebox musicals, shows that take popular songs of the age and construct a narrative that weaves the songs together, are not new. As far back as 1728, The Beggar’s Opera took ballads of the age to create what is known as the most famous and first jukebox musical. It may not be the first or most famous, but Tuacahn’s Jersey Boys , making its first showing on Utah stages in 11 years, may be the only jukebox musical you’ll need this summer. Marshall Brickman and Rick Elice wrote the book for the musical which dramatizes the personal and professional lives of 60’s rock n’ roll musicians Franki Valli and the Four Seasons. The show is a happenin’ to-do from bouncy beginning to hall of fame finale with all the spectacular technical elements audiences adore from Tuacahn shows.

The show opens with a bang as the ensemble bursts into a French rapped version of the band’s iconic “Oh What a Night” and hip hop dancers riff on the 60’s style dance moves. Original Four Seasons member Tommy DiVito, played by Johah Ho’Okano, steps in part way and talks about how far reaching the song’s impact has been, and then begins taking the audience back in time to explore how the band was founded, and memorable songs are sung with gusto through the show as the narrative of the band’s rise and fall is constructed in front of the audience. Each of the band members takes turns at different times guiding the audience through the narrative. This gives the audience a nuanced and complex understanding of the story’s protagonists with each being at times sympathetic and others unsympathetic. 

Tuacahn’s incredible cast were true triple threats. Ho’Okano had an easy charisma that made Tommy’s uninterrupted string of impulse moves understandable. Ho’Okano tapped into the character’s anti-social behaviors by chatting jovially with judges, police officers, and even mob thugs but turning quick tempered when his friends and bandmates begin undermining his self-proclaimed authority. His voice was independently strong, and he made exhausting dance routines look effortless. 

The same can be said for William Bishop’s portrayal of Bob Gauido. His sweet sounding tenor in “December, 1963” was one of the best performances of the show. Bishop not only sang at an extremely high level, but did so while flirting outrageously and reacting to the taunts of his peers. He, too, was an exceptional dancer, and was the match for his equity actor counterparts in all aspects. 

The show’s star, however, was Joshua Charles Skurnik who played Frankie Valli. That Skurnik had a dazzling voice was not a surprise. You can’t cast someone to sing songs like “Walk Like a Man”, “Can’t Take My Eyes Off of You” or “My Eyes Adored You’ who lacks the ability to stop the show. It’s the emotional range of Skurnik that was astounding. When he first came on stage, he was obnoxious, too nasally, and oozed “gee, shucks” from his slight frame. What transpired through the show was that you watched this boy transform into the man who takes on the baddest men around, owns the stage as a dancer and performer, and connects deeply with the losses he suffers in the context of “Fallen Angel.” As the kids say, I was not prepared for all the feels that song gave me. Skurnik will be elevating iconic characters for years to come. He grew from boy to man in the show’s short time, and at no moment more so than as he defiantly stated that Franki “definitely” wanted to cut ties with Tony.

The show’s musical direction earned the loudest, and most deserved, applause. Christopher Babbage’s live pit kept the energy high, was exceptionally balanced, and I kept being amazed at how perfectly timed music cues were with blocking, choreography, and even sharp technical cues. Babbage led a Four Seasons underscoring that Vivaldi would be proud of, even if he wasn’t from Jersey. 

Audible oohs from nearby patrons were fun as beautiful classic cars rolled onto the outdoor amphitheater stage. The classic chevrolet and cadillacs were red convertibles with leather interiors and were part of a spectacular scenic design from Brendan Baker. Rolling platforms for staging at various angles as the band bounced between barrooms, concert halls, stadiums, and other locations were incredibly well masked by the other action on stage. I constantly found myself being surprised as one location blended seamlessly into another on a large stage. The coordination between Baker’s sets, lighting designer Nick Van Houten’s eye drawing, and an exceptionally well called show from production stage manager Holley Housewright was incredible to behold. At times, lights would be timed to a musical note perfectly to completely shift focus and allow the passage of space and time in the audience’s mind. 

This, of course, was also possible through exceptional choreography and direction from Candi Boyd and Aaron de Jesus respectively. The leads engaged in choreography that was technically complex, distinct from number to number and still managed to allow for seamless transitions. There were times when I wouldn’t realize and actor had gone only to have them back on stage and in an entirely new costume in a matter of seconds. The production was a massive success as a non-stop machine of transitions, story telling, and still allowing jokes, moments and emotions to land. 

The only piece of the production I found curious was how the script was edited for the venue. Tuacahn offers exceptional production qualities while maintaining family friendly offerings which has made it such a staple of a Utah theatre community that values both of these things. I was surprised, however, to see some profanity cut while casual racism and anti-semitism remain in the play. I’m obviously not privy to the conversations between production companies and licensing groups, and the play was certainly intended for a more mature audience than Frozen or Anastasia, but I wondered at that distinction. 

It’s hard to contain my enthusiasm about this production, however. The music was catchy and fun. Fireworks exploded overhead during key numbers. Julie Thiry-Couvillion’s costume design and Brad Peterson’s video design were the highest caliber professional grade and yet seamlessly blended into the overall storytelling. It was a joy to dance and sing along with the numbers as well as feel a strong emotional connection to the characters and their realities in the show. For Tuacahn’s production of Jersey Boys, the answer to “Who Loves You” will undoubtedly be everyone.