JERSEY BOYS at the Ruth is Overstuffed with Earworms

PLEASANT GROVE  — The musical Jersey Boys tells the story of Frankie Valli and The Four Seasons, starting from the initial discovery of Frankie and ending with the band’s induction into the Rock & Roll Hall of Fame in 1990. The story is told like a documentary, but instead of an omniscient narrator moving the plot forward, the characters inside the story do. The script, based on real interviews with the former Four Seasons, was written by Marshall Brickman & Rick Elice.

The Ruth and Nathan Hale Theatre’s production of Jersey Boys moves quickly, becoming a “montage musical” in order to cover nearly four decades in two and a half hours. However, the moments where the music and performances really shine are when the cast has the chance to slow down and connect with one another. While this is contrary to the classic Four Seasons presentational performance style, (standing at microphones and singing directly to the audience), the magical moments of the show really do occur when the four leads make eye contact with each other and sing from the heart.

Note: I saw Jersey Boys on opening night, Friday, March 28th, 2025. All the cast members mentioned in this review are the Mon, Wed, Fri cast, with a different set on Tues, Thurs, Sat.

Kristian Huff opens the show with a wide-eyed and innocent Frankie Valli looking for his chance to sing on the big stage. From the first time we hear him sing, there’s no question why Huff is single cast into the leading role. His crisp falsetto cuts through the rest of the voices onstage and sets him apart. More than just a voice, however, Huff brings delightful energy to the stage, especially while he is performing the iconic set list of ear catching songs. Later in the show, Huff smartly contrasts a young, optimistic Valli with a weighed down, tired one, showing his acting range and emotional capabilities.

Written into the show, there are some songs that have another performer doubling the vocals for Huff as Valli. This is a wise decision by Music Director Justin Bills, as the difficulty of the intricate choreography, by Ashley Garner Carlson, paired with the high notes would prove a challenge for anyone, even the very talented Huff. 

One of the only other cast members to be in both casts is Brock Dalgleish as Tommy DeVito. Dalgleish is the first narrator of the show, inviting the audience into the world of 1950s New Jersey. Dalgleish carries the gruff swagger of almost-gangster DeVito, keenly portraying the fiercely independent rascal with nuanced vulnerability. Dalgleish is supported throughout the show by cast mate Chase Petersen who plays Nick Massi. Petersen broadcasts the air of disinterest and disgust that aligns flawlessly with Massi’s dialogue. Together, Petersen and Dalgleish deliver funny quips back and forth, made funnier by their iconic New Jersey accents. In fact, each member of the cast boasts an exceptional accent, credit to dialect coach Aunah Johnson.

Another standout performance is Scott Hendrickson as Bob Gaudio. With a powerful voice, I was impressed by Hendrickson’s ability to blend seamlessly with the singing group without overpowering. Additionally, his performance reveals an easy, likable Gaudio, dedicated to the music above all else. When Hendrickson joins Huff, Dalgleish, and Petersen singing for the first time in “Cry for Me,” the group is earnest and electric. This is one of the most special moments of the show, when the connection between the “Jersey Boys” becomes real.

Director David Morgan utilizes these moments of connection sparingly, making them especially impactful when they do occur. While this musical is traditionally seen as a “Rags to Riches” story, these sparse moments of band unity, followed by the separation of the four, make it feel more like a “Rags to Riches to Rags Again” story. While that story arc is also common, especially with celebrity biographies, I struggle to know if that interpretation is intentional or accidental with Morgan’s direction. 

The thrust stage evokes the memory of the Hale Center Theatre Orem stage, but is much more spacious, with multiple levels and a rising platform in center stage. For this particular production, the set, designed by Danny Rash, contains 6 large screens that act as doors, windows, signs, etc. While the screens are useful for the location and date changes that occur so often in the show, it sometimes feels that they are underutilized. The most clever use for the screens is towards the end of Act 1, when the band is performing in front of a large crowd. In a clever bit of direction, the band faces upstage, with the spotlights shining on them and into the audience. The screens show archival footage of the crowds at their concert, lending the audience to understand the scale of which the “Jersey Boys” were at in this point of their career. This scene, bolstered by Ryan Fallis’ lighting and media design, leaves the audience with a striking image.

In that same realm, Lexi Goldsberry’s costume design shows a well-researched look into The Four Season’s past, with colorful coats adorning the actors throughout. However, what was uniquely impressive about Goldsberry’s design was the inventive making of the costumes to allow for multiple quick changes to happen in the literal blink of an eye. 

Jersey Boys has a lot of songs, (there are 35 songs in the show, almost double the typical amount for a musical), and the Ruth’s live band is up to the challenge. Multiple times I saw band members smile and laugh with one another about the energetic songs they were playing. Some band members even join the actors onstage for parts, proudly showcasing just how much fun they are having, and their skill in their instruments. While the sound mixing was slightly unbalanced at the beginning of the show, the sound design by Dan Morgan is ultimately very holistic. More than just the music, sound effects build the world of New Jersey and the North American tour. All of the sound – both effects and music – are exceptional to listen to.

 

Overall, the Ruth’s production of Jersey Boys is a music filled experience that will leave you humming Frankie Valli’s music for several days after. The script races across the stage, but the cast and crew manage to make it shine bright in the moments where they can slow the script down.