By Lynn Venhaus
A jubilant celebration of a Hall of Fame career, “Beautiful: The Carole King Musical” tells the story of how a remarkable singer-songwriter found her voice and influenced a generation.

But it is as much about others who are woven into the history of early rock ‘n roll, and those catchy tunes that have a good beat and you can dance to them, as it is an everlasting tribute to the most successful songwriter of the last half of the 20th century.

King wrote such memorable hits as “I Feel the Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” and the title song.

For Boomers, this is the soundtrack of our lives. For other generations, it’s a blast from the past and an introduction to the stories behind the music, and for all, it’s an example of the transformative power of music.

As one of four premieres for The Muny’s 105th season, it was a crowd-pleasing way to open, especially during a stretch of gorgeous weather. I thought it brought fresh air into the venerable institution, for presenting a show from the last decade that has all the makings of a new classic.

Photo by Phillip Hamer

King’s rise to stardom is ideally suited for the Muny, and their interpretation of this jukebox musical is dynamic, slickly staged by director Marcia Milgrim Dodge.

Featuring 26 bouncy pop hits and unforgettable ballads, the music score moves the story along, and music director Charlie Alterman honors that timeless sound with tremendous skill and verve.

Interestingly, there is a Muny connection — Paul Blake produced the Broadway show and he was the Muny’s executive producer for 22 years, until his departure in 2011.

Popular on Broadway, “Beautiful” played for 2,418 performances from Jan 12, 2014, to Oct 27, 2019, nominated for seven Tony Awards and won two – Jessie Mueller as Carole and sound design. Two national tours have played at the Fabulous Fox in St. Louis, in 2016 and 2019.

And the Muny’s creative teams and cast didn’t miss a beat.

With every number performed with gusto, you could feel the audience’s joy in the waves of recognition as patrons named that tune. “”Oh!” followed by cheers and applause.

The most frequent comment I overheard was “I didn’t know she wrote all those songs!”

That, indeed, is an engaging calling card for this well-constructed musical, which features a witty book by Douglas McGrath to accompany the American song catalogue.

Photo by Phillip Hamer

Born Carol Klein, the chart-topping music legend grew up in Brooklyn and then fought her way into the record business as a teenager. She met Gerry Goffin, her match in life and love, at Queens College, and they were married for 10 years, from 1959 to 1969. By the time she was in her 20s, she was flourishing as a songwriter in the fabled Brill Building, churning out hits for the biggest rock ‘n roll acts — Gerry’s words and her music.

It wasn’t until her personal life unraveled that she finally managed to find her true voice, culminating in her landmark solo “Tapestry” album in 1971, which won four Grammys – including Record, Song and Album of the Year — and went on to be one of the greatest selling albums of all-time.

The addition of Cynthia Weil and Barry Mann to the story of Goffin and King makes this musical more than one-note, and with performances by the acts who recorded the songs — The Drifters, The Chiffons and The Shirelles, it’s a sentimental walk down memory lane. Muny hometown favorite Kennedy Holmes shines belting out “The Loco-Motion” as their baby sitter, Little Eva.

Using a moving labyrinth skyscraper grid, scenic designer Ryan Douglass shows the inner workings of the fabled Brill Building, at Broadway and 49th St. in New York City.

That’s an important part of music history, and in this musical. A hit-making music factory, the Brill Building was not only home to Goffin-King and Mann-Weil, but also Burt Bacharach-Hal David, Mike Lieber-Jerry Stoller, and Jeff Barry-Ellie Greenwich.

Between them, they penned scores of hits for the girl groups and teen idols who dominated radio airwaves after Elvis joined the Army in 1958 and before The Beatles ushered in the British Invasion in 1964. But also, still formidable duos beyond with the ‘now sound.’

Using the LED screens, video designer Kylee Loera replicated old-timey television where we watched the popular acts in black-and-white.

Sara Sheperd is a warm and winsome Carole, charting her growth from shy but talented teen to a strong, independent solo artist whose “Tapestry” album released in February 1971 was a landmark achievement – more than 25 million copies sold and longest run on Billboard chart by a female artist.

When the character discovers her worth after heartache and pain, it’s a thrilling moment.

Steven Good emphasizes how gifted and how troubled Gerry Goffin was. (Goffin died in 2014 at age 75, and did see “Beautiful” on Broadway before he passed. He and Carole married three more times in their lives.)

Jackie Burns and Jarrod Spector are sensational as Cynthia Weil and Barry Mann, the songwriting team in the next cubicle, and the competitiveness resulted in many standards that defined the rock era.

Spector, who originated the role on Broadway, nails Mann’s character quirks with aplomb, stealing the show.

John Battagliese and Mike Schwitter as The Righteous Brothers brought the house down with a soulful “You’ve Lost That Lovin’ Feeling.”

There’s also strong support from Noah Weisberg as mentor and boss Don Kirschner, and Sharon Hunter as Carole’s nagging mom Genie

The emotional journey isn’t an easy one, and the book ends in 1971, glossing over some events and not following up what happened as a coda. This tale is focused on the King-Goffin relationship and the work, highlighting the changing times for frames of reference.

The fashions by Tracy Christensen smartly captured the era whereas J. Jared Janas has selected the right hairstyles for the appropriate times and situations.

Savor this satisfying, fun, vibrant musical in its Muny premiere, where it will make you feel ‘Home Again’ for another summer.

“Beautiful: The Carole King Musical” opens the 105th Muny season, with performances at 8:15 p.m. nightly June 12-18. For more information, visit www.muny.org.

Photos by Phillip Hamer

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By Lynn Venhaus
Managing Editor
Legendary singer-songwriter Carole King’s joyous and wistful music is the sound
of a generation and her remarkable life story parallels the evolution of women
in the 1960s and 1970s.

How she found her voice is chronicled in the wildly popular long-running show, “Beautiful: The Carole King Musical,” now on tour at the Fox Theatre in St. Louis for a limited engagement March 12 – 17. The show celebrated its fifth anniversary on Broadway in January.

It’s easy to love this smartly constructed show –
compelling rise to stardom story and a glorious score bursting with catchy pop
songs. Carole’s character goes through a tremendous amount of growth (and hairstyle
changes), so she’s relatable and sympathetic.

Sarah Bockel immerses herself in the role, making a believable transformation from insecure but talented teen into a strong independent woman. The smooth and crisp production is just as much about the beginnings of rock ‘n roll – the tunes that had a good beat and we could dance to it, as a young Carole was part of the hit machine at the Brill Building, hired by producer Don Kirshner. Her husband, Gerry Goffin, was the lyricist while she wrote the melodies, and the string of hits kept coming.

A wonderful nostalgia is evoked when The Drifters, The Shirelles, Little Eva and other recording artists perform their hit songs, a vivacious blast from the past that strikes a chord: “Up on the Roof,” “One Fine Day,” “The Locomotion,” and “Will You Still Love Me Tomorrow” among them. John Michael Dias, who was on the first tour at the Fox, and Paul Scanlan as The Righteous Brothers delivered a rousing, soulful “You’ve Lost That Lovin’ Feeling.”

The recognition factor to those chart-toppers is high, and
the emotional connection to the story is immediate.

Douglas McGrath’s witty and warm book showcases plenty of
heart and humor. In addition to Bockel’s affability and
believability, Dylan S. Wallach conveys the hard-working early years as well as
the pressures of the business that overtook the talented but troubled Gerry.

A supportive sisterhood was in full force opening night, as
whoops, hollers and cheers met every “Attagirl!” woman empowerment line in the
second act, when Carole emerges from divorce as a solo artist.

Her landmark 1971 album, “Tapestry,” which sold over 25 million copies, won Grammys for Best Record, Song and Album of the Year. It is still one of the bestselling albums of all-time, and the longest Billboard run by a female artist.

My generation knows every single word — still, and showed
appreciation Tuesday night, for it was a true lovefest, along with a
sentimental flashback to our youth, and a delightful walk down memory lane.

It’s a thrilling, magical moment when Carole decides to
sing her own material and tries out ‘It’s Too Late” at the Bitter End.

Another key to this show’s success is because it isn’t just about Carole. Songwriting partners Cynthia Weil (Alison Whitehurst) and Barry Mann (hilarious Jacob Heimer), who were also at work, literally next door, are an integral part of the story. The foursome’s good-natured competitiveness resulted in many standards that defined the rock era, and it’s a sweet reflection on good friendships as well.

The strong cast embodies well-drawn characters. James Clow plays a significant mentor — producer Don Kirshner as both a boss and as a caring friend. Suzanne Grodner reprised her role as Carole’s supportive but nagging mom,

Director Marc Bruni, who has worked at The Muny eight times, kept the focus on the relationships and the work, as the couples go through the changing times of the 1960s. He made sure the show flowed well, with an up-tempo for the most part.

The production team captured the era well. The show isn’t only for Baby Boomers, it is for anyone who loves music and can identify with Carole’s progression. The musical celebrates the music that played in her head with style, rhythm and passion.

“Beautiful: The Carole King Musical” is on national tour, and playing at the Fox Theatre in St. Louis March 12-17. For more information, visit www.fabulousfox.com. For tickets, visit www.MetroTix.com or call 1-314-534-1111.

Former Muny Executive Director Paul Blake and Associate Producer Mike Bosner Left St. Louis for New York and Have a Tony-winning Show still running on Broadway

By Lynn Venhaus
Managing Editor
After Paul Blake listed “Carole King Musical” on a Muny survey one summer and
it received only a few votes, he worried if the in-the-works “Beautiful” would draw
an audience. His fretting was all for naught, as the musical recently
celebrated its fifth anniversary on Broadway and is currently on its second
national tour.

The Tony and Grammy Award-winning “Beautiful – the Carole
King Musical” returns to the Fox Theatre for a limited engagement March 12-17.

Sarah Bockel stars as Carole King in national tour of “Beautiful” now playing at the Fox Theatre in St. Louis “I am thrilled that ‘Beautiful’ continues to delight and entertain audiences around the globe, in England, Japan and Australia. We are entering our fourth amazing year of touring the U.S.,” Producer Paul Blake said. “We are so grateful that over five million audience members have been entertained by our celebration of Carole’s story and her timeless music.”

Being the head producer on “Beautiful” has been a dream-come-true experience, he said. Blake took a leap of faith when a record executive contacted him with the idea. And the rest, as they say, is history.

From their New York office, Blake and his co-producer Mike
Bosner, a St. Louis native, recently talked about the show’s success, their
producing partnership, and what they have in the works.

Blake was the executive director of The Muny for 22
seasons, stepping down in 2011. While at the Muny, he created two Broadway
musicals from popular movies, “White Christmas” and “Roman Holiday,” so setting
up shop in New York after his years here was a natural progress.

Bosner was an associate producer at the Muny for five
seasons. Before he graduated fom John Burroughs high school, Wayne Salomon, his
theater director, told him about a Saint Louis University internship at the
Muny in the production office. Working in the business world of theater was
where he wanted to be, and now, he’s an official Tony-nominated Broadway
producer.

They are two motivated guys.
“We really love what we do. When you love what you do, it doesn’t seem like
work,” Bosner said.

They are currently working on a couple of new shows, not at
liberty to say what, but will always have a special place in their heart for “Beautiful.”
“This was something special,” Bosner said.

“We are very lucky it has delighted audiences for over five
years – around the world,” Black said.

They work hard putting together shows – ‘So many things to
do!” Blake said, but they wouldn’t have it any other way. “It’s very fulfilling
what we’ve chosen to do.”

He credits the Muny experience for keeping them on their
toes.

“If I wouldn’t have done the Muny, I couldn’t get these shows together. It all comes together because we have that experience,” he said. “We learned how to put the best people together at the Muny.”

Since the tour’s launch in September 2015, “Beautiful” has
played 1,130 performances in 82 cities over 142 weeks to nearly 2.5 million
patrons.

Tony Winner Jessie Mueller as Carole King.Singer-songwriter Carole King’s true-life rise to stardom
is a tailor-made follow-your-dreams story. The chart-topping music legend grew
up in Brooklyn and then fought her way into the record business as a teenager.
By the time she was in her 20s, she was married to college classmate Gerry
Goffin and was flourishing as a songwriter in the fabled Brill Building,
churning out hits for the biggest rock ‘n roll acts.

It wasn’t until her personal life unraveled that she
finally managed to find her true voice, culminating in her landmark solo
“Tapestry” album in 1971, which won four Grammys – including Record, Song and
Album of the Year — and went on to be one of the greatest selling albums of
all-time.

One of the most successful acts in music history, Carole
wrote the soundtrack to a generation. The “Beautiful” music includes “I Feel the
Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me
Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” the title
song and many more.

So, Blake was surprised when there wasn’t much love for it
on the end-of-season “What Shows Would You Like to See at the Muny?” survey.

“I was shocked. There was no recognition. I used to put on the
survey shows that didn’t exist, like “White Christmas” – it got six votes and “Roman
Holiday,” which got eight,” he said.

Blake made his debut as a Broadway producer with “Irving
Berlin’s White Christmas,” which opened in 2009. The musical adaptation of the
holiday movie classic had premiered at the Muny in 2000. The show had a second
Broadway run, and has turned into a popular seasonal show at theaters around
the country.

“It endures because it’s terrifically entertaining,” he
said. “It’s one of the most requested musicals.”

“Paramount Pictures had hired me to create musicals from
their film catalogue. I picked two – White Christmas and Roman Holiday,” Blake
said.

He and Bosner have re-worked “Roman Holiday,” which will be
coming to Broadway. It had a successful tryout in San Francisco last year. But
before that, it was at the Muny about 12 years ago.

“These things don’t happen overnight,” Blake said. “We feel
we have it right now – it needed some work. It has songs by Cole Porter. We
have always thought it felt like a stage musical,” he said.

“Roman Holiday” is an Oscar-winning movie starring Audrey
Hepburn as a Princess who escapes her confines and explores Rome with
journalist Gregory Peck. Hepburn won Best Actress, Dalton Trumbo won Best Story
and Edith Head won Best Costumes.

It’s on to the next project, but Blake recalls all the
effort that went into making “Beautiful” sparkle.

Bosner said they began working on it in 2009.

“It took five years of talking and trying to get the
contracts settled,” Blake said.

“So, after it got 6 votes, I wondered if there was an
audience for it, but when making ‘Beautiful,’ everyone seemed to know how to do
it. Let’s hope it works, I thought,” Blake said.

“At our very first reading, I asked Disney Theatrical Group
president Thomas Schumacher to come and give us his thoughts. He told me: ‘You
have made a ‘Jersey Boys’ for women.’”

Carole King and Gerry GoffinCarole King was reluctant to see her life played out
publicly, but she gave permission.

“She saw what we were trying to do. She said, ‘I trust you,’
I see where you’re going,’ but she did not want to be involved. She went away.
It was hard for her,” Blake said.

“Four months after we opened, we heard from her. We had
sent her the script. Carole is all about the truth. She went to see the show.
She was stunned. She’s been great.  She
let us know she supports us totally and fully,” Blake said.

“She performed at The Tonys. She came to New York City for
the fifth anniversary (Jan. 12). No one knew she was going to be there. They
were filming for CBS and we wanted to have the surprise moment be on camera, so
we didn’t tell the cast. It was sensational,” Blake said.

Carole KingIt wouldn’t be the only time he’s heard that. For women of
a certain age, the music is a walk down memory lane that has them on their feet
at the curtain call, singing loudly to “I Feel the Earth Move.”

First and foremost was the music – beloved songs written by
the husband-and-wife hit machine teams of Gerry Goffin and Carole King, and
Barry Mann and Cynthia Weil.

“It had a bunch of great songs, catchy pop tunes,” Blake
said. “We got the rights, and then Douglas McGrath (a Tony and Academy Award
nominee) put the Brill Building in the book, and that makes it a story. Doug’s
book is so under-appreciated. It is a great book.”

Director Marc Bruni, who has directed at the Muny eight
times, “Singin’ in the Rain,” “My Fair Lady,” “Thoroughly Modern Millie,” “The
Music Man” and “The Sound of Music,” made his Broadway debut with “Beautiful.” He
has since helmed the new production of ‘Roman Holiday.”

The show opened Jan. 12, 2014, on Broadway at the Stephen
Sondheim Theatre, 125 West 43 Street, where it is still playing. It broke all
box office records there and recently became the theatre’s highest grossing
production in its history.

“Beautiful” was nominated for seven Tony Awards in 2014,
including Best Musical, and won two – for Best Lead Actress in a Musical
(Jessie Mueller) and Best Sound Design.

“We were so proud of the show as is, so the nominations
were the icing on the cake,” Bosner said.
The Original Broadway Cast Recording of “Beautiful – The Carole King Musical”
(Ghostlight Records) won the 2015 Grammy Award for Best Musical Theater Album
and is available on CD, digitally, and on vinyl. 

“When asked about the show, nobody says they like it.
Everyone says they love it. There’s a lot of love there, and that’s powerful,”
Blake had said after the Tony nominations.

In addition to the current Broadway and North American
Touring productions, “Beautiful” is also playing internationally, with
productions in Japan, Australia and touring the UK.  An award-winning production recently
concluded its run in London’s West End after opening on Feb. 25, 2015.

“We saw it in Japan. It was wonderful,” Blake said.

The producers are now working on a movie version of the
musical.

“It’s in pre-production, might be one and half, two years.
We have a draft of a screenplay. The contract is drying as we speak,” Blake
said.

The cast of the Sony/ATV Music Publishing-sponsored North
American tour includes Sarah Bockel as Carole King, Dylan S. Wallach as Gerry
Goffin, Alison Whitehurst as Cynthia Weil, Jacob Heimer as Barry Mann, Muny
alum James Clow as Don Kirshner and Suzanne Grodner as Genie Klein.

The ensemble includes Ben Biggers, Darius Delk, John
Michael Dias, Leandra Ellis-Gaston, Kaylee Harwood, Willie Hill, Alia Hodge,
James Michael Lambert, Harper Miles, Dimitri Joseph Moïse, Ashley Morgan, Deon
Releford-Lee, Nathan Andrew Riley, Paul Scanlan, DeAnne Stewart, Danielle J.
Summons, Alexis Tidwell and Elise Vannerson.

The creative team includes Derek McLane (Set Design), Alejo
Vietti (Costume Design), Peter Kaczorowski (Lighting Design), Brian Ronan
(Sound Design), Charles G. LaPointe (Wig and Hair Design), Steve Sidwell
(Orchestrations and Music Arrangements), Jason Howland (Music Supervision) and
John Miller (Music Coordination). Vietti’s credits include The Repertory
Theatre of St. Louis – “Evita” and

Besides Blake, Bosner and Sony, producers included Jeffrey
A. Sine, Richard A. Smith, Mike Bosner, Harriet N. Leve/Elaine Krauss, Terry
Schnuck, Orin Wolf, Patty Baker/Good Productions, Roger Faxon, Larry Magid, Kit
Seidel, Lawrence S. Toppall, Fakston Productions/Mary Solomon, William Court
Cohen, John Gore, BarLor Productions, Matthew C. Blank, Tim Hogue, Joel Hyatt,
Marianne Mills, Michael J. Moritz, Jr., StylesFour Productions,
Brunish/Trinchero and Jeremiah J. Harris.

Performances Tuesday, March 12, through Sunday, March 17,
are 7:30 p.m. Tuesday through Saturday, and matinees at 2 p.m. Saturday, 1 p.m.
Sunday and 1 p.m. Thursday, March 14.

“Beautiful” is part of the U.S. Bank Broadway series.
Tickets are available through MetroTix.com, by calling 314-534-1111 or in
person at the Fabulous Fox Box Office. For more information, visit
www.FabulousFox.com

For more information and video, visit
www.BeautifulOnBroadway.com.

Paul Blake and Mike Bosner attend Beautiful – The Carole King Musical at The Aldwych Theatre, The Aldwych, London on Tuesday 24 February 2015 February 2015