Review: JERSEY BOYS at the Springer Opera House

COLUMBUS, GEORGIA — Featuring golden oldies like “Sherry,” “Walk Like a Man,” and “Oh, What a Night,” Jersey Boys might look like a vehicle for boomer nostalgia. But at the Springer Opera House, it is so much more than that. The stellar performances and dynamic directing make Jersey Boys a moving show that anyone can enjoy.

Jersey Boys tells the story of the personal, artistic, and professional ups and downs of The Four Seasons, with plenty of the group's songs sprinkled throughout the show. This jukebox musical is more than an excuse to listen to some hits. The script (written by Marshall Brickman and Rick Elice) has characters and drama that are so compelling that the story could stand alone. No one needs to be a fan of The Four Seasons to enjoy Jersey Boys.

Adam Marino has a respectable imitation for the distinctive sound of Frankie Valli’s voice. But Marino’s acting is the real stunner. During the course of the play, Frankie ages from 17 to about 45, and Marino can play that entire range convincingly. It is gratifying to watch Marino turn Frankie from a naive teenager into an adult that can stand up to his surrogate older brother -- and later into a middle-aged man willing to shoulder heavy responsibilities. This character progression also extends to his singing styles in the different songs that the Four Seasons perform. In the early songs (like "My Mother's Eyes"), Frankie is unsure and youthful in his singing. The character then evolves into a style where he romances the microphone in "Sherry" and finally adopts a mature and more emotional style for "Fallen Angel."

The other three leads of Jersey Boys are endearing. Matthew Ruehlman as Tommy DeVito opens the show with some swagger and an accent that instantly transports the audience to New Jersey. Ruehlman also portrays a compelling character arc, gradually breaking down the character's confidence until his financial problems make Tommy a humbled man. Jared Allen Price plays Bob Gaudio as a guileless musical genius. This honesty in the character allowed Price and Marino to form a believable bond of friendship that was an emotional core of the story. Finally, I loved Kyle Brace as Nick Massi, the tough guy from the wrong side of the tracks who happens to play a mean bass. Nick has a great rant about the difficulties of sharing a hotel room with an inconsiderate bandmate, and Brace sounds so impassioned during the moment that it really feels like a decade of frustration is boiling over.

As great as each of these four actors is, the best moments of Jersey Boys occur when the four leads sing together. Each brings his character’s unique personality to the forefront. Brace sings from the side of his mouth with a scowl on his face. Price performs like a serious artist, and Ruehlman’s sings like a man with a goal. These three complement Marino’s evolving performance to create a dynamic mix of personalities. The Four Seasons may be dressed alike when they perform, but these actors work hard to preserve the characters’ individuality.

Keith McCoy was the director and choreographer of the Springer's production, and his work on both fronts was masterful. Whether it was a surprise tango during "Can't Take My Eyes Off You," or the progressive weariness of "Stay," I loved all of McCoy's choices. One major strength in the direction was the transitions. The sudden transitions into songs like "Sherry" or "Dawn" were thrilling, but I also found pleasure in gradual transitions, such as a gutsy change during "Beggin'" that had an actor use a verse of the song to change location.  

McCoy was also the production's scenic designer, and in this role, he skillfully right-sized Jersey Boys for the Springer's stage. The set’s most noticeable component was a series of latticed columns reminiscent of a construction site stretched to nearly the top of the proscenium and topped with arches. This served as a reminder of the main characters' working-class roots, but the columns also housed LED lights that lighting designer Sulaiman As-Salaam used to create textured pillars of colored light to add to the ambiance of critical scenes. The columns and platforms of the set create a roughly semicircular playing area that was the perfect size for four people to sing in a concert. I have seen Jersey Boys in a much larger venue, and I think I prefer a Springer-sized production for this story.

The production’s only problem was the sound. Most notably, there was a continuous high-pitched ring that lasted for several minutes, visibly annoying the audience. Additionally, the volume levels of the microphones were never quite right, and it was often hard to understand lyrics. The production’s sound got better after about the first 20 minutes.

I can forgive the shortcoming of the sound because the rest of the show was so strong. The female ensemble (Courtlyn Holt, Maya Isabella, Larren Woodward, Leila Wheaton, and Holly Smith) are versatile performers who can quickly establish meaningful characters. Musical director Jarred Lee helped this cast impeccably recreate the classic Four Seasons harmonies in “Walk Like a Man,” and “Beggin’.” And costume director & designer Alex Allison’s realistic costumes kept the production grounded in the 1960s and 1970s and were an excellent counterpart to the abstract set. 

The worst part of Jersey Boys at the Springer Opera House is that it only plays through September 29. I wish that this stellar production could “stay just a little bit longer.” 

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