Review: BEAUTIFUL - THE CAROLE KING MUSICAL, Leicester Curve

At one point in Beautiful - The Carole King Musical, Carole declines a request to sing with a band, because she can't imagine anyone would want "to hear a normal person sing". As it turns out, millions of people want exactly that, and the show starts and ends with Carole performing her smash-hit album Tapestry at Carnegie Hall, while on her way to becoming one of the most influential musicians ever.

This new production from Leicester Curve is a stripped-back, actor-musician version of the jukebox show which began on Broadway in 2014 and hit the West End in 2015. Stylishly directed by Nikolai Foster and starring the mesmerising Molly-Grace Cutler as King, the production offers not only a catalogue of outstanding pop hits, but also an inspiring and empowering message.

The story begins in 1958 with 16-year-old King selling her first song to music producer Donnie Kirshner, and finding a writing and romantic partner in the handsome Gerry Goffin. The two are soon married and writing hit songs for the likes of The Drifters and The Shirelles, but while their careers flourish, their relationship begins to break down as Gerry struggles with his mental health and looks for love elsewhere.

The first act gives us the chance to enjoy the magic of the songwriting process as we see Carole and Gerry creating songs in the studio, spurred on by competition with friends and fellow writers Cynthia Weil and Barry Mann. The fact that the actors play their own instruments adds to the reality of these scenes, and it's a delight to see the songs transform from simple ideas at the piano to fully orchestrated pieces performed by the pop acts of the day, complete with stylised choreography. By contrast, the second act delves more into the couples' relationships and Carole's solo journey.

All the cast are excellent, though Cutler stands out, with her warm, powerful voice and a self-deprecating charm that immediately makes the audience root for her. Tom Milner gives a sympathetic portrayal of the troubled and erratic Goffin, and Seren Sandham-Davies is a highlight as the bubbly, sweet Cynthia. Her interactions with Jos Slovick's Barry bring levity and a welcome contrast to Carole and Gerry's relationship.

Cynthia and Barry might provide the majority of the humour, but Douglas McGrath's lean, quippy book gives everyone the chance to make the audience laugh at least once. The book doesn't explore the show's emotional aspects as thoroughly as it might, but luckily the depth of feeling comes across through the song lyrics and arrangements, and Cutler's poignant renditions.

She imbues "Some Kind of Wonderful" with the overwhelmed awe of a young mother-to-be, "One Fine Day" with the deep pain of betrayal and "Will You Love Me Tomorrow?" with longing and fear. By the time she sings the show's titular track, her character has completed her journey to a woman who has experienced the highs and lows of life and discovered her voice, and her newfound confidence permeates every word.

Though there are painful scenes in this story, there's a joyful quality to the entire production. It comes partly from the upbeat, catchy music, and partly from the sense of collaboration and creativity on display. The colourful costumes from Edd Lindley add to the feeling, as does the stunning lighting design from Ben Cracknell, which elevates Frankie Bradshaw's functional sets.

It's hard not to feel uplifted by this show, and audiences are likely to come away with a new sense of appreciation for these enduring classic songs, as well as for the people who wrote them.

Beautiful - The Carole King Musical at Leicester Curve until 12 March, then touring the UK

Photo credit: Ellie Kurttz

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