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- [00:01]
Jack Myers
What makes a leader worth following?
- [00:02]
Tim Spengler
What should you really care about in your job? As technology is changing so quickly, is
- [00:07]
Jack Myers
it just gonna be about machines talking to other machines? I mean, should you quit your job and start something on your own, what would that take?
- [00:13]
Tim Spengler
What does success and risk look like when we're all at the starting gate together?
- [00:18]
Jack Myers
These are the questions we answer each week on Lead Human with Jack Myers and Tim Spengler.
- [00:23]
Tim Spengler
Join us each week and subscribe at your favorite podcast platform and YouTube.
- [00:28]
Jack Myers
We'll tell stories, we'll hear from some of the best, and we'll try to figure this out together
- [00:35]
Taryn and Kami
as schools look to the future. The Home Depot Retool youl School program is here to help build it. Together with the power to create change, our grants drive impact and build brighter futures. Learn more@retoolyourschool.com, retool youl School. We're powered by purpose.
- [00:52]
Jack Myers
ACAST powers the world's best podcasts.
- [00:56]
Mickey Jo
Here's a show that we recommend.
- [00:59]
Taryn and Kami
Do you want to know the best part about being married to a woman? That there's no man involved. I mean, true, but I was gonna say that it's a sleepover every single night with your best friend.
- [01:07]
Jameela Jamil
Oh, yeah, that part's cute too.
- [01:09]
Taryn and Kami
I'm Taryn, she's Cami.
- [01:10]
Jameela Jamil
We're married.
- [01:11]
Taryn and Kami
And staying up is our weekly pillow talk out loud with you. We're giggling, we're gossiping, we're arguing. Classic marriage stuff. Just having fun being wives while we navigate growing up and building a family together. Then our sleepover grows. Our listeners call the Pee Pee Hotline with their own gossip, burning questions, late night spirals, all the stuff they'd only tell their best friends. So it's a private sleepover, but you are invited. Staying up with Taryn and Kami. New episodes weekly follow wherever you listen.
- [01:39]
Jack Myers
ACAST helps creators launch, grow and monetize their podcast everywhere. Acast.com
- [01:49]
Mickey Jo
so just in time is the story of Bobby Darren and how his career. Nope, sorry. Excuse me. Similar songs, different story. Well, ish. Let me try that again. Jersey Boys is the story of Frankie Valli and the four Seasons who. No, sorry, still incorrect. Hold on, hold on. I can get this. Here we go. Sinatra the Musical is the story of. Well, you know. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this full review on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. I am an independent critic and a content creator here on Social media and this evening I was invited to see one of the final press performances, performances of Sinatra the Musical at the Old Witch Theatre in the West End. Now, this show is a new bio jukebox musical telling some of the story, sort of a few chapters from the life story of the legendary crooner Frank Sinatra. The Musical first premiered a couple of years ago at the Birmingham Rep regionally in the uk. Subsequently it has had a New York workshop. It is still thought to be eyeing a Broadway run at some point, but for now it's it is playing in the West End, starring Joel Harper Jackson as Frank Sinatra himself. And as you might expect, the musical depicts much of Frank Sinatra's success, as well as some of the challenges that he faced during his career. It also portrays more than one of his romantic relationships. If you know anything about Frank Sinatra, you will know that that is an inevitability. All of this scored to some of his most recognizable songs, swing and jazz standards, including that's Life, Come Fly With Me and My Way. Briefly, and amidst a market of what is beginning to feel like depleting enthusiasm for bio jukebox musicals of this kind, perhaps you're intrigued to know a little more about this show. Well, don't worry, I am going to tell you. We're going to talk about the plot, about the chapter that this chooses to focus on, about the way in which it is structured, the story that it tells, as well as the way that it incorporates the music. We're going to talk about the performances. We're going to talk about the way that it's been staged. Its direction, its choreography. Every facet of this production is going to be explored today and I'm going to be sharing with you my thoughts and insight. Insights. Of course, if you have already had the chance to see this for yourself at the Old Witch Theatre in the West End, I would love to know what you thought. Let me know in the comments section down below. And if you would like to hear my reviews of other West End and Broadway shows, then you can find many more of them wherever you are seeing my face or hearing my voice. Or you can subscribe for the many more, which are coming very soon. You can also follow me on podcast platforms or sign up to my free weekly email substack newsletter to stay up to date with all of the shows that I'm seeing each week and all of the content that I'm sharing about them. For now, though, let us talk about Sinatra. Now, I mentioned a depleting enthusiasm for biojukebox musicals and I've spoken about this a few times. Based on what we have seen happening in the West End and in the uk, one which has had significant recent success has been Just in Time on Broadway. And given similarities between the two shows, even a couple of songs which appear in both, you might feel safe to assume that Sinatra has the possibility of becoming a huge theatrical hit. However, Sinatra as a musical does not aspire to the brilliance of Just in Time. And what I hope to articulate for you today is exactly why that is. And it's interesting. It's very interesting to me because on the face of it, they do seem to have an awful lot in common. Especially because they each depict these determined entertainers who are distracted from their singular purpose of wanting to excel and be the very best at what it is they do. Distracted only by the glamorous women who they encounter while they're distracted. Distracted being movie stars. And what I think keeps it from the caliber of the charming show that is Just in Time is the framing of it all. In that musical we are introduced to the performer who is going to play Bobby Darin, who explains to us the entire trajectory of Darren's life, including the tragically young age at which he passed away. And they show you, as many of these shows tend to as beautiful. The Carole King musical, Tina the Teen Turner musical, etc all do Jersey Boys as another example of this, the entire arc of their career. And Sinatra, not unlike mj, focuses simply on a portion of that. One of the most unusual things about this show is that we arrive and his story is already in progress. So they're not telling the rags to riches story of Frank Sinatra growing up to working class immigrant parents in Hoboken, New Jersey and you know, getting noticed and recognized for his voice, for his talent, rising to prominence as an entertainer. By the time that we begin the show, he's already performing at New York's Paramount Theatre with a big band by behind him. He is already beloved of a fan club of these swooning young women who rush the stage. He already has a wife and child. Initially, you're wondering whether we're going to like In A Wonderful World, the Louis Armstrong musical flashback from here to an earlier point in his life. But we don't. We are simply beginning amidst some existing success. He already has an anxious press agent and he is, as we come to find out, set to head to Hollywood. The show is thus offering you the unique experience of having arrived on time, but feeling though you're 10 to 15 minutes late. And so the framing of the Whole thing is immediately unsettled and framing matters. Even in a bio musical like this in Jersey Boys, the narrative passes sequentially between each different member of the group in just in time. Like I said, it's very immediately fourth wall breaking. And even if the thing that you have is a nice enough picture, let's say without a frame, it's just not going to look as nice up on the wall. And it's a shame because it is a nice enough picture. Which is to say that this show has. It has something of a story to tell. The music that scores the entire thing. This Frank Sinatra songbook is a really inherently theatrical one. All of this works on stage. It sounds gorgeous. I will say it runs into a couple of what I like to think of as the jukebox bio musical speed bumps, one of which is explicitly to do with the songs. Because like in many other shows, the songs are performed both diegetically and non diegetically. Sometimes Frank is performing in a club or he is in a recording studio, and on other other occasions, he is singing his feelings through the songs that he famously recorded. Or other people in his life are singing their feelings. His parents are, or his wife, or the woman for whom he leaves his wife. More on that in just a moment. And it requires a certain suspension of disbelief, as does the fact that the songs are encountered in the narrative, perhaps in the wrong order. They don't necessarily align with what he was singing, what he was recording during that exact moment in his career. There is a bigger issue coming later on. And not to continue to invoke every other Duke boxed by a musical. But Tina has the same problem, because Frank, towards the very end of the show, late in the second act, is introduced to Nelson Riddle, with whom he will collaborate hugely successfully after the events of the show. Nelson Riddle is responsible for bringing him this new sound and this full big band arrangement behind his songs. And they make phenomenal recordings together. We're told in the epilogue that they sort of create the concept album and they revolutionize the recording industry, which is great. However, we are not empowered as an audience to hear any kind of shift or evolution in the sound because some of the stuff that he recorded with Riddle has already been heard earlier in the show. So because we're not being very strict with the timeline of the music, then we can't really evidence things like that in the same way that you might on screen. But I'm getting a little ahead of myself here. And in terms of the plot, the book having been written by Joe DiPietro, and having been partially overseen by one of the show's co producers, one Tina Sinatra, who apparently was very eager that this depiction of her occasionally controversial father be a very honest and not necessarily deliberately flattering one. The plot depicts Frank heading off to Hollywood to go and make his first movie with his press agent and his wife, both having told him to be careful not to have an affair with the glamorous women who he will encounter only with all of the subtlety of a punch directly to the face. Lana Turner arrives with an orchestral Hollywood swell behind her and as is specifically noted in the script, lustfully throws herself at Frank so you know what is there for him to do. He even turns to the audience and shrugs, which is about as much insight as we are offered into his perspective on the adultery that begins very early in the show and continues for much of its duration. And brilliantly playful as the next sequence is when Frank hops into bed with Lana Turner and she is replaced by various other stars of the time who appear from the bed and take turns singing Come Fly with me to Mr. Sinatra. You do wonder whether we are expected to be endeared to any of his struggles which are going to follow and how exactly he is to be portrayed within his own story. Are we saying that he was a bad person or simply a flawed and complicated one? Like I said, it's not a rags to riches story. It doesn't really afford him enough material for a redemption. But it is something of a professional comeback story, which itself not unique. Unique in the world of jukebox bio musicals. And the problem that I have every single time is we get to a place where they're like, oh no, what do you mean? They've run out of money completely and they're down on their luck and their career looks like it isn't salvageable and this is the end of the road. Gosh, who knows what's going to happen? And I'll tell you who knows. The audience who was sat in the theater, who wouldn't be sat in the theater if Sinatra didn't have the legacy that we all know he's going to go on to have, making this prolonged chapter of despair about as pointless as the mom. Spoiler alert. He puts a gun into his own mouth and briefly contemplates suicide. We can't establish any kind of stakes here because we already know the outcome. And more to the point, if this is to be a satisfying comeback story, the timing is off because like I said, we arrive at a point of relative success and everything sort of steadily declines from there, we witness him for almost the entirety of the first act, making the wrong choices personally and professionally, leaving him at what is supposed to be rock bottom by interval only. He remains at rock bottom for a frustratingly large portion of the second act. All the while, we're meant to feel as though the decisions that have brought him to this place are being mitigated by the three fifths of a love song that he will occasionally croon in between scenes, with it being at least 70% of the way through the show before he even attempts to redeem himself. And I would argue he doesn't really redeem himself at all, he just eventually finds better opportunities. At long last, he finally gives a good performance in a film, he shows up for his children, and he meets a collaborator in the recording industry assertive enough to prevent him from walking away when he wants to. And in order to eventually arrive at this place of minimal redemption, we've had to get through the adultery, the alcoholism, the absent parenting, his career claiming an actual death toll unrelated to the mob activity that gets referenced towards the beginning, which we never want circle back to and pep talks from just about every other supporting character on stage. In fact, the second act is largely spent shifting between scenes in which different characters in his life will remind Frank Sinatra that he is in fact Frank Sinatra before he can eventually, after a very long time of this, come to the conclusion that you know he is Frank.
- [13:41]
Jack Myers
Acast powers the World's Best Podcasts Here's
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Mickey Jo
a show that we recommend
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Jameela Jamil
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Jack Myers
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Mickey Jo
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- [14:53]
Mickey Jo
That's K A C-H-A-V A.com code fitness Frank Sinatra. Now, don't get me wrong, this material is not poorly written. Many of these book scenes penned by Joe DePietro, I think might make for a more compelling film. The relationship between them and the songs being just that little bit flimsy. There's something of an oddity with the placement of the song My Way, which I would contend is probably the most anticipated song among the legacy of Frank Sinatra. It arrives as the opening of Act 2, and we know that he's in a very bad spot. And they have him behind a gauze curtain which is illuminated with different newspaper headlines with a sort of a rectangular cutout, so that where he's standing on stage, he can be the image to accompany the headline about his faltering career. And we only hear a small section of My Way. And I have to say, in the history of artists whose life stories have been brought to the stage, never has there been a clearer 11:00 clock number than My Way. I mean, does that not completely sum up his entire professional existence. That is the song. You have the gift of a lyric there that is actually reflecting on his life and it builds to the most satisfying theatrical crescendo. We don't get the entirety of that in the show, I believe, due to the fact that there is complicated rights ownership when it comes to My Way. Specifically, Universal are a producer. Universal Music are a co producer on this show. They aren't the sole rights holders for My Way. So the fact that it's sung briefly and is undeniably in the wrong place in the show may be a consequence of the complicated rights situation. Meanwhile, though the direction from Kathleen Marshall lacks subtlety at every turn, I like the way that it nods to classic Hollywood and even more so in the choreography. I really enjoy the choreography in this production. There is one huge party dance number. Fairly early on, after Frank has persuaded his wife Nancy to fly out to Hollywood to come and stay with him there with the kids, he takes her to a party and they meet all of these colorful Hollywood personalities. And there is a nod among the ensemble of characters who they encounter to the Nicholas Brothers unmistakably in the way that they are choreographed. There's also a trio of women at the same party who dance in another distinctive style. I didn't quite grasp what that was a reference to, but I love the way that dance is used in this moment as a celebration, but also as dialogue. It's this very classic idea of dance actually replacing the language of a scene. There's some sort of a nod, I felt as well, to Singing in the Rain, and not just because Gene Kelly is represented among the characters as well portrayed with a divine little dance feature by Adam Davidson. Later on, in one of the many conversations between Frank and his first wife Nancy, we also have dance as set design because the ensemble are on a raised platform behind them and become set dressing as they are discussing their relationship and the kids and the family and the future and Frank's obvious blatant infidelity. This is part of an aesthetically inconsistent set Design by Peter McIntosh. Occasionally we will have panels come in and things are projected onto them. There is a texture of these panels and of some of the walls along the side of the stage reminiscent of those sort of checkerbo different depth textured walls of a recording studio for noise cancellation, the meaning of which I understood. But they do just look a little weird on stage. Not as weird as the video introduction to the whole thing. Before we see Frank unveiled for the first time at the beginning of the show after the curtain has gone up. That said Sinatra on it, in case you've forgotten which bio jukebox musical you have come to and the quality of this animation. Don't worry, I'm not about to accuse it of being AI I think AI would do a slightly more realist job because this is stylized in a way that was so strikingly familiar of early 2000s PlayStation games. It felt like the establishing shot of Spider Man 2 on the PlayStation 2 heading across the New York skyline before bringing us in front of a building, slowly lowering down in front of it and then entering through the lobby where there are no people present whatsoever with the curtain, then rising to reveal Joel Harper Jackson performing as Frank Sinatra, flanked by a band and a set piece behind him about half of the height of the stage. We see this occasionally sets where like the top half behind the half panel that exists there. Height wise is projection and it's like the starry night sky or whatever. But I get quite frustrated by seeing set pieces that only feel half as tall as they should be. Subsequently we have a whole world of different bedroom furniture that is brought on and off stage via automation that is not quiet. It begins to resemble the Night of a Thousand Beds, possible alternative title for Frank Sinatra's memoir. And we we can't necessarily discern which home and which bedroom we're looking at until we can identify the woman who comes with it. Which possibly was also Frank Sinatra's experience. God, these jokes they write themselves. The creative contributions that do earn my unqualified praise though the lighting from Bruno Poet. I really enjoyed some of the lighting moments. The costume design from John Morrell. It was period. It was gorgeous. That first collared green dress with that silky high slit skirt that Ava Gardner is wearing when she is brought on for the first time and thrown around. This small ensemble of dancers. A star entrance which has to rival and exceed the one that Lana Turner had a few scenes before. All of the costuming, just gorgeous. I also loved the wigs created by Mark Marson for Campbell Young Associates. The strongest creative component of the show though is surely its music and whatever misgivings I may have had about the structure and the story. It is so sensationally great to listen to if you enjoy this style of music. It is a very full sound on stage, the which Frank Sinatra ultimately found an awful lot of success with. The sound with which he is enduringly associated. Today it's a 16 piece band with really great wind and brass sections in particular, plus music director Dave Rose. All of this overseen by musical supervisor and co arranger the brilliant Gareth Valentine, credited with arrangements alongside Ian Eisendrath, Larry Blank, credited for the orchestrations. It all sets sounded phenomenal and in addition to the brilliant band, it was fantastically sung. Let me tell you finally about the
- [21:41]
Jack Myers
what makes a leader worth following?
- [21:43]
Tim Spengler
What should you really care about in your job? As technology is changing so quickly, is
- [21:48]
Jack Myers
it just gonna be about machines talking to other machines? I mean, should you quit your job and start something on your own, what would that take?
- [21:54]
Tim Spengler
What does success and risk look like when we're all at the starting gate together?
- [21:59]
Jack Myers
These are the questions we answer each week on Lead Human with Jack Myers and Tim Speaker Spangler.
- [22:04]
Tim Spengler
Join us each week and subscribe at your favorite podcast platform and YouTube.
- [22:09]
Jack Myers
We'll tell stories, we'll hear from some of the best, and we'll try to figure this out together.
- [22:18]
Tim Spengler
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- [22:48]
Mickey Jo
Performances. Now prior to this production, when the show first premiered at Birmingham Rep and as it has been workshopped Broadway star Matt Doyle had been playing the role of Frank Sinatra, but now in the West End, Joel Harper Jackson is taking on that role and tilting his hat, as it were. And I always think that when it comes to portraying a real life individual, conjuring their essence and building a believable character around that person is far more important than mimesis and mimicry and looking exactly like them or sounding exactly like them. Joel manages to succeed on a number of frontiers here. However. Not only is he giving a compelling acting performance, he also is really capturing the sound of Frank Sinatra. He's really mastered the tone of that iconic crooning sound and the sort of very specific slight pitch twisting that Frank Sinatra playfully did, as well as the freedom of his rhythmic approach to vocal phrasing. Joel is, above all else, perhaps a formidable vocalist who sings so sweetly and so passionately throughout the show and unbelievably seems to have something left in the tank at the very end so that he can push it into an even higher gear. In the show's climactic final moments, he suddenly delivers even more vocal force. He also looks, I think, not entirely unlike Frank Sinatra. None of which matters nearly as much as the depth of acting performance that he is giving here. And though the narrative doesn't particularly acquaint us with Frank's own mind at each step as much as the advice that is given to him by all of these other people in his life. By his wife, by his mother, by his press agent, by contemporaries, by his vocal inspiration, Billie Holiday, with whom he shares a slightly inexplicable scene in the second act. What Joel Harper Jackson does is to wrestle the angst and the longing and the utter foolish, hot headed folly of his career into some kind of a submission. And he presents to us this generational talent whose seductive inclinations are less the focus of his own dialogue as this recurring idea of his staunch belief in civil rights and social equality. Frank, in fact, is so vocally committed to justice that you might assume this is going to amount to something really substantial in the second act when he takes some kind of a stand. But it doesn't really. Not unlike all of the mob stuff that happens early on, it feels like a breadcrumb that we never really follow to a witch's house in the woods. Because our bigger priority is to examine this particular period of Frank's life via the women who surrounded him, not just romantically, but also his mother, also the eldest of his children, also named Nancy, confusingly. And his mother is played by theatrical legend Jenna Russell, who in the first act has less a script and more a series of stereotypical Italian mother utterances which she gamely, grumpily growls, usually moments before walking off stage. Eventually she has some slightly more substantial material with which to work. But before that we are introduced to to the two main romantic leading ladies of Frank's life at this time. His first wife, Nancy, played by Phoebe Panarettos, and his second, Ava Gardner, the woman who he will divorce Nancy for, played by Anna Villafagne. And each of these are sensational talents with glorious voices and heartbreaking emotional delivery as they each portray the initially very empowered and ultimately somewhat squashed women who came close Frank's heart. Now, Phoebe is a rising star who I have been following for years. Now she has the most gorgeous vocal tone like smooth, thick caramel. And it is as much of a joy to hear her reinterpret the songs of Frank Sinatra as it is to hear Joel deliver them in a quintessential familiar style. Ana Via Fagne, meanwhile, is a true musical theater triple threat. That term is thrown around a lot. Rarely is it this truthful because she has as much star quality when she is dancing on stage as when she is belting out a number which she does not do enough of in this show. But I don't entirely mind because her book scenes with Joel as Frank are some of the most compelling in the show. She's brilliant actress, as she would have to be to play the iconic actress Ava Gardner. And I mentioned that Jenna Russell's material gets slightly better in the second act. There's something of a baton passed between her and Phoebe Panarettos because the show has written these dimensional female characters but can only really sustain one or two of them at a time. There is also and more involvement from Frank's daughter, little Nancy, who has a series of scenes with her mother and her father in the second act, played by a trio of young performers very sweetly this evening by Felicity Walton. And it's a very talented company. It's a brilliantly hard working ensemble who have these moments to showcase dance and little vocal solos. There are lots of great standout ensemble moments in this show, a couple of charming scenes for featured characters as well. Among the entire company. Lee Zarat's is the other performance that I really need to tell tell you about as George Evans, Frank's long suffering press agent. And he is this comically exasperated presence who exists a little in the script in order to absolve Frank of certain responsibilities, such as when he based on an offhand remark decides to plant, via Hedda Hopper, the story about Frank and Ava being Romeo and Juliet, being these destined lovers who can't be together because his cruel first wife won't grant him the divorce that he deserves. Etc. And Lee plays this sor of exhausted puppet master in all of those scenes very, very well. He does a fantastic job. Those then have been my thoughts about Sinatra, the latest bio jukebox musical which has all of the right ingredients. There is certainly a fascinating story to tell with recognizable, interesting, complicated characters, a hugely talented cast performing in a on stage, great theatrical songs, talented creatives wrangling all of this. For whatever reason, it amounts to a comeback story that never really comes back in a satisfying enough way. It's like a bad boomerang. Consequentially, I was entertained by Sinatra, if not moved or gripped particularly. But as always, those have just been my experiences and I would love to hear about yours. If you have had the chance to see Sinatra at the Old Witch Theatre in the the West End, please let me know what you thought of the show in the comments section down below. And if you would like to hear more of my reviews, then check out the others that I've already shared. Wherever you are seeing my face or hearing my voice. You can also follow me on podcast platforms, subscribe right here on YouTube or sign up to my free weekly Substack newsletter to stay up to date with all of my upcoming reviews. For now though, I have been Mickey Jo and as always, I hope that everyone is staying safe and that you have a Stagey Day. For 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day.
- [30:07]
Tim Spengler
Subscribe.
- [30:12]
Jack Myers
Acast powers the world's best podcasts.
- [30:16]
Mickey Jo
Here's a show that we recommend.
- [30:21]
Jameela Jamil
What if you laughed all through your commute? Or if you heard the funniest story while at the Time gym? Well, now you can I'm Jameela Jamil and guests on my new podcast Wrong Turns share their most mortifying and hilarious disaster stories. I'm talking people like Mae Martin, Bob the Drag Queen, Katherine Ryan, Jake Johnson, Margaret Cho, Simon Pegg Penn Badgley, and so many more. So listen wherever you get your podcast. Ron Turns where dignity Goes to Die
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Jack Myers
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Tim Spengler
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Taryn and Kami
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