JERSEY BOYS – The Story of Frankie Valli & The Four Seasons
14/04/2012 - 24/05/2012
JERSEY BOYS – The Story of Frankie Valli & The Four Seasons features 20 Four Seasons hit songs including ‘Sherry’, ‘Big Girls Don’t Cry’, ‘Rag Doll’, ‘Oh What a Night’ and ‘Can’t Take My Eyes Off You’.
JERSEY BOYS – The Story of Frankie Valli & The Four Seasons won four 2006 Tony Awards® including Best Musical and the Olivier Award for Best New Musical in 2009.
In Australia JERSEY BOYS won two Helpmann Awards being Best Musical and Best Music Direction of a Musical and seven Victorian Green Room Awards. The JERSEY BOYS Original Cast Recording also received a 2006 Grammy Award® for Best Musical Show Album. Currently there are five productions worldwide including Broadway, Las Vegas, US National tour, London and Sydney, with a 2nd US National tour to commence in 2012.
DION BILIOS is Frankie Valli
Dion has been involved in stage and performance since the age of four, training in all aspects of performing arts. His stage credits include the roles of Gavroche in Les Miserable, Sammy in Jolson and Captain in Oliver. In 2008, he toured with the Australian production of Altar Boyz, where he performed the role of Mark and has most recently been part of the award winning Australian production of Mary Poppins. Dion has also featured in numerous television commercials and series including his role as “Bud” in the AFI Award winning film Soft Fruit. He has also had the chance to work with many ofAustralia’s finest Choreographers including Kelley Abbey, Matt Lee, Leah Howard, Cameron Mitchell, William A Forsythe and The Squared Division.
DECLAN EGAN is Bob Gaudio
Declan is thrilled to be making his professional theatre debut as Bob Gaudio in Jersey Boys. In 2010 he graduated from the Diploma of Music Theatre course at the National Institute of Dramatic Art (NIDA). Declan also graduated from the Talent Development Project in 2011 and performed in the TDP-Start Me up Concert at the Sydney Entertainment Centre. Since graduating Declan has performed with the corporate act Boys in the Band with SMA productions. Prior to NIDA, Declan studied Voice at the Newcastle Conservatorium of Music and performed in the 2010 season of Encore at the Sydney Opera House.
ANTHONY HARKIN is Tommy De Vito
Anthony Harkin graduated from the Western Australia Academy of Performing Arts in 1999 and has since gone on to a successful career in Theatre and Television. Anthony’s recent theatre credits include Rock of Ages (Newtheatricals), Avenue Q (Arts Asia), Shane Warne the Musical and Wind in the Willows (Australian Shakespeare Company). Other theatre credits include the A Month in the Country (Sydney Theatre Company), The Last Five Years (Echelon Productions), Cabaret (IMG), and The Internationalist (The Practical Theatre Company). Anthony also toured Australia nationally with Miss Saigon. Television and Film credits include The Alice, Network Seven’s All Saints and Mark Lee’s feature film The Bet. Anthony recently directed A Midsummer Night’s Dream inSydney’sCentennialPark for WildRumpuS Productions.
GLASTON TOFT is Nick Massi
Glaston graduated from the WesternAustralianAcademyof Performing Arts in 2005. Prior to WAAPA, he studied Classical Voice at the Queensland Conservatorium and trained in Commercial Dance and Music Theatre at DLDC Studios. In 2008, he performed in TML Enterprises’ production of SHOUT-the Legend of the Wild One (Peewee understudy-the Delltones’ iconic frontman). Glaston then commenced the national tour of Opera Australia’s My Fair Lady (The Cockney & Servant Quartets). His other performance highlights include Little Me and Camelot for The Production Company.
Broadway’s gritty smash hit musical, JERSEY BOY S – The Story of Frankie Valli & The Four Seasons, is the story of how four blue collar boys from the wrong side of the tracks became one of the biggest American pop sensations of all time. Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi joined forces to become The Four Seasons, writing their own hits and developing their unique sound to sell over 175 million records before they were 30!
Civic Theatre, Auckland
performances from 10 April, for a strictly limited season.
Groups of 10+ Save. Groups 20+ Save more!
Call The Edge Group Bookings on 09 357 3360
From Tuesday 10 April 2012
Tuesday at 6.30pm
Wednesday – Saturday at 7.30pm
Saturday matinee at 2.00pm
Sunday at 1.00pm and 6.00pm
*subject to change
From gangsters to superstars
Review by Paul Simei-Barton 16th Apr 2012
The classic rags-to-riches story needs a fairy godmother but with rock ‘n’ roll the escape from poverty and obscurity doesn’t require supernatural intervention. All it takes is some talent, plenty of hard work, a few lucky breaks and one great song.
What makes such stories so appealing is neatly summed up by The Four Seasons’ Tommy DeVito – a small-time hoodlum who anticipates his band’s meteoric rise to stardom by telling the audience “it could happen – it did happen.”
Frankie Valli & The Four Seasons produced some of the 60s’ most memorable hits but their story is not well known – probably because it has nothing to do with the decade’s counter-culture mythology. [More]
Copyright © in the review belongs to the reviewer
The good kind of Jersey
Review by James Wenley 16th Apr 2012
As I take my seat in the Civic, the Jersey Boys stage looks surprisingly non-descript. It’s a grey and drab industrial looking set, complete with walkways and chain mesh. A pretty ordinary set for an international musical, but then, the origins of the real Jersey blue collar Four Season members were rather ordinary too. Is this to be the stage for the multi-award winning Broadway Smash that has finally wound its way to little young Auckland?
As soon as local boy Vince Harder appears as a modern day French rapper, singing Ces Soirees-La (a hit in France in 2000, we know it better as Oh what a night…), the stage transforms as only mega-budget musicals do, lighting up in brilliant colour and moving all over the place. It’s a spectacle rich experience – microphone stands rise up from the floor, and attractive pop-art graphics on appear screens to accompany the storytelling, but all that is blown away by the blended and distinctive sound of the show’s four leads as The Four Seasons, giving us their all with hit after hit. [More]
Copyright © in the review belongs to the reviewer
Four Seasons in One Night: musical, visual, aural and emotional
Review by Vanessa Byrnes 15th Apr 2012
Jersey Boys comes to NZ shores with a lot of hype, and for once it’s worth believing. Over a million people have seen the Australian production alone; with military precision and well-crafted moments its cast and crew deliver a slick, uplifting, beautifully designed and fast-moving night out that will not disappoint.
Even if you’re not a diehard fan of such hits as “Rag Doll”, “Sherry” and “Walk Like a Man”, you will have a new respect for the specific place, time and people that created the Four Seasons’ pantheon of hit songs as they’re used to strong effect within the story of Frankie Valli’s life and career.
So let’s rewind a bit. An opening night at the Civic theatre is an experience to behold, with nearly 2,400 people bringing their great expectations to bear on this much-lauded show. The red carpet is out, the celebs are in, the after-party has been impeccably organised and my partner and I are keen to see what could bring such a crowd out in a recession. What’s the magic formula at work here? What makes this story of fulfilling the American Dream so successful here in Auckland?
The story, for one: the great rags-to-riches narrative of Frankie Valli and his New Jersey compadres Bob Gaudio, Tommy DeVito and Nick Massi who “joined forces to become The Four Seasons, writing their own hits and developing their unique sound to sell over 175 million records before they were 30”.
Especially in a recession it seems the public are hungry for real-life tales of talent and determination overcoming the odds. Forget the guy who won lotto; this is the real jackpot. Find your own voice, it seems to be suggesting; trust your friends as family, stay true to the course, your talent, your vision and fortune will follow. It’s a tailor-made story of hope and redemption that is universal.
Then there’s the slickly-designed set and production elements that exude professional magnitude. A simple overhead catwalk is the only constant; everything else – including musicians – is flown, wheeled, trap-doored in and out. A massive technical operation is surely going on backstage. It’s fast and clean with not a second wasted as the story pushes along.
Strong lighting design complements an ever-changing set with neon signs and Lichtenstein-inspired images on massive screens. This is a pared-down, uncluttered design that to gets to the spatial heart of Valli’s story.
Sounds design is crisp and inventive. I particularly like the scene set in a large church, where the reverberation is enough to suggest exactly the kind of space we’re in. Occasionally I miss some vocals where the backing is a touch too loud; a minor complaint.
Then of course there are the performances. The central quartet of four actors has a fine connection with each other, the material and the audience.
Anthony Harkin is on the money right from the get-go. He’s a solid central character to launch the story, never missing a beat and totally in command of his role as Tommy DeVito. Dion Bilios brings impish charm to Valli, not to mention his wonderful voice that flies through the signature falsetto with seeming ease.
Glaston Toft as Nick Massi is dry and centred, a perfect counterpoint to Harkin’s firey DeVito. This contrast between the two characters pays off well in the second half. Declan Egan as Bob Gaudio is open and strong in his performance.
A cast of fifteen support the central four, and director Des McAnuff expertly creates some lovely, simple moments within the ever-changing, slick, theatrical landscape on stage. Witty choreography underpins the score incredibly well.
And finally there’s the music. Songs tell the story of these lives, music continues under spoken text to underscore the feeling, rhythm pushes the narrative along. The signature sound of The Four Seasons takes on significance that Vivaldi could only have dreamt of.
At one point in the first half, we are backstage behind the four singers as lights and applause hit them. We’re seeing what they see. We’re part of the Four Seasons family. It’s a clever device that sums up the formula for success at work here: bring us in, make us understand the music, let us experience it so that we feel part of it.
This is a sharp show that’s been well crafted and marketed. It’s a huge production that on one level screams expensive production values and international success. I’m a bit wary of big money driving theatre. However the central story is a good one, and the formula is undoubtedly a success. Emotionally, musically, visually and aurally it channels four seasons in one night.
You’ll leave with a tune in your head and a tap in your toe. Catch them if you can; the Jersey Boys are in town.
Copyright © in the review belongs to the reviewer