Nightclub singer Joey Evans has seen quite a few revisions to his character since John O’Hara first penned his short stories for The New Yorker in the late 1930s. But in Richard LaGravenese and Daniel “Koa” Beaty’s brand-new adaptation, the character of Joey undergoes a complete transformation. Played by Tony-nominated actor Ephraim Sykes (Ain’t Too Proud), Joey is a Black jazz singer refusing to compromise on his craft and struggling to make it big his way, with his sound.
Directed by tap icon Savion Glover and Tony Goldwyn, with bold dance stagings by Glover that capture the real beat of Chicago jazz, this Rodgers and Hart classic features songs like “Bewitched, Bothered and Bewildered” and newly incorporated gems like “The Lady is a Tramp” that shine with sexy wit and powerful new subtext. Revered, revised, and now re-envisioned for a new era, Pal Joey proves it has more to tell us about love, lust, and the music behind it all.
Still, the story line remains more or less on track so far. It’s in bumping a hitherto peripheral character – the nondescript, nonsinging, nondancing club manager – to the fore that the rewriters simultaneously triumph and overstep. As the updated counterpart, de facto den mother Lucille Wallace, Loretta Devine (who achieved stardom with Dreamgirls) is assigned a number of songs that challenge her current vocal capabiity. Text-wise, she’s fantastic, “Lu” having been assigned all the wittier, more insightful lines. As for her side-plot romance with Vera’s fixer, Tony? Conveying not the slightest trace of thuggish menace (would that be un-PC?), Jeb Brown plays the gangster like a benign Park Avenue toff who thinks that he’s the main story.
You can certainly count on coherence from the songs themselves, no matter how randomly they sometimes seem to have been placed in one Rodgers and Hart show instead of another. Even completely shorn of plot relevance, they are evergreen for a reason. Though this “Pal Joey” rightfully questions the appropriation of Black voices in American popular song — referring to the King of Jazz, Paul Whiteman, and the King of Swing, Benny Goodman, Joey says, “Awful lot of Kings out there playing our music” — it’s strange to build that argument on the back of these standards. If they’re the problem, why celebrate them, and make them sound so good in the process?
1940 | Broadway |
Original Broadway Production Broadway |
1952 | Broadway |
Broadway Revival Broadway |
1954 | West End |
London Production West End |
1959 | Milburn, NJ (Regional) |
Paper Mill Production Milburn, NJ (Regional) |
1961 | Off-Broadway |
City Center Revival Off-Broadway |
1963 | Broadway |
City Center Revival Broadway |
1976 | Broadway |
Broadway Revival Broadway |
1980 | Regional (US) |
Regional Revival Regional (US) |
1980 | London Fringe |
London Revival London Fringe |
1995 | Off-Broadway |
Encores! Concert Off-Broadway |
2002 | Regional (US) |
Regional Revival Regional (US) |
2008 | Broadway |
Roundabout Revival Broadway |
2023 | Off-Broadway |
Encores! Concert Revival Production Off-Broadway |
2023 | Broadway |
Broadway Revival Broadway |
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