Review by Tanner Tate, Front Row Reviewers
Though Tuacahn Center for the Arts in Ivins, Utah has not been mounting professional productions in the indoor Hafen Theatre for long, they have gotten pretty good at it. And their current production of Beautiful: The Carole King Musical is proof that Tuacahn brings the best for their patrons.
My friends and I had the privilege of sitting down in a much cozier and air-conditioned venue than the expansive Tuacahn Amphitheater only steps away to experience Tuacahn’s production of Beautiful: The Carole King Musical. The Hafen Theatre was once part of Tuacahn’s High School of the Performing Arts, but since that organization no longer inhabits the property, Tuacahn has opted to utilize the space for two additional professional productions a year. This year, we were fortunate enough to see Beautiful.
Beautiful: The Carole King Musical tells the story of prolific singer-songwriter, four-time Grammy award-winner, inductee into both the Songwriter’s Hall of Fame and the Rock and Roll Hall of Fame as well as Kennedy Center Honoree Carole King (normally played by Sara Shepherd, we saw understudy Emily Gardenhire). From selling her first song to producer Don Kirshner (James Clow) at the age of 16 to her penultimate performance at Carnegie Hall decades later, the musical follows King in her quest for a life as a singer-songwriter while also balancing a growing family and a talented and loving, but reluctant and rarely satisfied husband, Gerry (Matthew Amira).
We were eager to see how the understudy for King would perform, and she did not disappoint. Through an honest portrayal of a figure she has obviously studied, Gardenhire brings integrity, sincerity, and vocal prowess to the role of Carole King, honoring the woman who sourced the material in a way that would make her proud. Gardenhire demonstrates an understanding of genuine comedy, delivering the funny lines in creative ways that never feel slapstick, while also telling a true story of a seemingly normal woman who experiences real joy and real pain while creating some of the most famous and recognizable music in American history. Tears glisten in her eyes during the most powerful scenes, while radiance emanates from her smile during her triumphs. Gardenhire is not portraying a character: she is channeling a life.
Matthew Amira does an excellent job in creating the figure of Gerry Goffin, King’s first husband. With rich baritone vocals, Amira crafts a tale of a man who jumped into too much, too young, too fast. His tender moments with Gardenhire create a palpable warmth through the audience that make it impossible not to smile, which makes the betrayal of a man struggling with mental illnesses and addiction so painful to witness. Amira’s mannerisms demonstrate a study of figures suffering from manic depression, something that Goffin is presumed to have experienced during his marriage with King, brought on by extensive drug use. Amira’s performance keeps you invested in his character when you love him, as well as when you hate him: a triumph for any actor.
Joining the story is dynamic songwriting duo Cynthia Weil and Barry Mann (Taylor Aronson/Ryan Farnsworth), two real-life figures who truly did occupy the office next to Carole and Gerry during their early days of songwriting, where the partnerships competed to pump out the next “big hit” while also forming an important friendship along the way. Farnsworth and Aronson are not only the comedic relief of the show, but also create their own saucy while exciting romance along the way. Their stage chemistry is exquisite, and their storytelling keeps you rooting for them as they sort through their respective relationship baggage. Their singing voices are bright and exciting, Farnsworth with a terrific rock-acquainted tenor and Aronson with a swanky soprano jazz tone that would fit well in a smoky 1950s bar. It’s clear that these two actors are well-acquainted and have developed an innate trust in one-another.
Don Kirshner, King’s earliest producer, makes appearances through the entire show, and Clow’s depiction of a businesslike but kind producer keeps him likable. While he does not sing much through the show, (particularly when juxtaposed with almost every other cast member,) Clow inserts some subtle acting choices that make his character interesting. Early in the show, while King and Goffin are performing a moving love song to him in hopes he will produce it, his usual “hands-in-pockets” manner is replaced with an absentminded fingering of a wedding ring. I noticed it. I liked it.
But of course, if you’re familiar with Beautiful, you’ll know that the show is not complete without a smashingscore! Containing music that King, Goffin, Weil, and Mann wrote over the course of a decade, the stage springs to life with the introduction of famous groups such as The Drifters, The Shirelles, The Chiffons, and The Monkees, while also including influential artists like Little Eva, (who was King and Goffin’s babysitter at the time, imagine that?) Made up of an ensemble of fabulous performers, every single song presented exhibits excellence in the craft of music, with tight harmonies, masterful showmanship, and exciting choreography (David Ruttura, Joyce Chittick). These actors, (D’Marreon Alexander, Briana Brooks, Anthony Cataldo, Cedrick Ekra, Rosharra Francis, Alloria Frayser, Jacquez Linder-Long, Jazz Madison, Jack Mastrianni, Nigel Richards,) show proficiency in their art, and leave the audience satisfied while still hoping for more.
Beautiful is the best use of a Tuacahn space I have ever seen. With levels that are used effectively but not frivolously, staging that fills the space, dynamic scenery (Derek Mclane), clever lighting (Ethan Steimel), and a constant feeling of movement, Beautiful never leaves a dull moment on the stage. It is fast-paced and exciting from the time the lights come up to the moment they go down. Shout out to the artistic team. Nice work.
I’d be remiss if I didn’t mention that during the show, I thought, “This might be the best show I’ve ever seen at Tuacahn.” I’ve seen a number of shows here, and some of them have left their mark, but Beautiful is the first that I can remember having that exact thought. I have forgotten many details of the shows I’ve seen, but I can’t help but wonder if the emotions I felt during Beautiful will keep it in my memory forever. I sure hope so.
Tuacahn presents Beautiful: The Carole King Musical by Carole King, Barry Mann, Cynthia Weil, Gerry Goffin, and Douglas McGrath.
The Hafen Theatre at Tuacahn, 1100 Tuacahn Drive, Ivins, Utah 84738
June 30 – August 19, 2023
Tickets: $32-$91
Contact: 800-746-9882
Beautiful promotional video
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