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Description:

'Oh what a night of magical memories....This is an utterly wonderful show full of vitality, pace and power' Daily Express.

'Let's hear it for the Boys.....I suspect, be some time before London says Bye Bye Baby (Baby Goodbye) to the phenomenal Jersey Boys' Daily Telegraph.

Jersey Boys follows the rags-to-riches tale of Frankie Valli and the Four Seasons as they work their way from the streets of Newark to the heights of stardom, and features such hits as 'Sherry,' 'Big Girls Don't Cry,' 'Can't Take My Eyes Off of You,' 'Oh, What a Night' and many more.

Directed by Des McAnuff, with a book by Marshall Brickman and Rick Elice and music and lyrics by Bob Crewe and The Four Seasons' own Bob Gaudio, it has won four Tony Awards, including Best Musical, Best Actor in a Musical, Best Featured Actor in a Musical and Best Lighting Design of a Musical. McAnuff is on board for the London version of the show, as are the Broadway creative team: choreographer Sergio Trujillo, production designer Klara Zieglerova, lighting designer Binkley and costume designer Jess Goldstein.

Please Note: Due to strong language this show may be unsuitable for children under the age of 12

Our Review:

Jersey Boys was somewhat of an unknown quantity to most of us when it opened in February 2008. Of course we all know the hit song December 1963 or Oh What a Night, but what about all the other classics which you don’t associate with Frankie Valli and the Four Seasons?

What you have here is one of the best shows of 2008 and one which should be around for years to come. Definitely jump at the chance to see the show!

What The Papers Say:

“The performances are generally solid, and Ryan Molloy, as Frankie, has a voice that sweeps up from reedy whisper to hard-edged, auditorium-filling falsetto with magnificent ease. Many musical sets nowadays seem to be no more than stark metal stairs and walkways, so performers can run upstairs while singing at the same time, then throw their arms out wide when they get to the top. A little more lushness of scenery wouldn’t go amiss. There is real visual flair, though, in the back projections, with a New Jersey landscape of pylons and cooling towers silhouetted against an industrial orange sky, and big screens above projecting Roy Lichtenstein-style images of couples kissing or big girls crying, with speech bubbles and all.
You’d have to say that the Four Seasons’ stylistic influence on later pop and rock music is about nil, but the songs are timeless, if intensely old-fashioned, and you know far more of them than you think - Sherry, Big Girls Don’t Cry, Can’t Take My Eyes off You. Hearing them performed and sung this well makes Jersey Boys worth a visit.” THE SUNDAY TIMES (2008)

“Jersey Boys is a blue-collar, meat-and-potatoes, straight-up-no-chaser kind of show, and I mean that as a compliment.
It has a quality you rarely find in musicals - gritty honesty - as well as the best collection of pop hits since Mamma Mia!
Jukebox musicals normally get a rough ride from the critics, but Jersey Boys, built on the hits of Frankie Valli and the Four Seasons, emphatically deserves to thrive here as it has already done in New York. And the story is fascinatingly told through the eyes of each of the original band members, so that the audience gets a range of viewpoints.
Jersey Boys superbly captures the thrills and tensions of four testosterone-charged young men discovering fame and fortune after years of dogged failure.
It is excellent, too, on the pressures of life on the road, and the abiding strength of male friendships, particularly the enduring relationship between Valli and Bob Gaudio, the group's original keyboard player and prolific composer.
There are a host of excellent gags (I particularly liked Gaudio's delighted realisation when he finally loses his virginity that sex really is better when two people are involved), and Des McAnuff's strong, no-frills production, with its clever use of pop art imagery, is full of heart and humanity.
Overpaid, oversexed and over here, it will, I suspect, be some time before London says Bye Bye Baby (Baby Goodbye) to the phenomenal Jersey Boys.” THE TELEGRAPH (2008)

Jersey Boys, with a deft and engaging book by sometime Woody Allen co-writer Marshall Brickman and Rick Elice, is more than just another jukebox musical. It uses the songs ofFrankie Valli and the Four Seasons, mostly written by Bob Gaudio (music) and Bob Crewe(lyrics), to both shape the outer success story and illuminate the inner tensions.
This is one step beyond the slick mix-and-match of song and situation in Mamma Mia!. The Four Seasons songs carry stories of love and yearning that suit this style of theatre to perfection, and the awesome efficiency of Des McAnuff’s production – cast with British performers – can absorb the bumpiness of life on the road and in the recording studio whileKlara Zieglerova’s beautiful scenic design of pop art cartoons and fast-moving platforms bring out the expressive, declamatory nature of the material.
The dynamics in the quartet form the energy for the songs, which are sheer joy from start to finish….With great backing musicians and good sound arrangements, the second act peaks with the gorgeous staging of that imperishable classic “Can’t Take My Eyes Off You”, brass players marching on in the middle eight while Frankie soars to ecstatic fulfilment, and an eerily smoke-filled reunion concert with the boys rising like waxen effigies to discharge “Rag Doll”. WHATSONSTAGE (2008)

“On a stage displaying the now traditional furniture for musicals - a steel-framed scaffold, with steel-mesh screens, spiral stair-case and upper gallery - Jersey Boys unfolds against a backcloth of industrial chimneys, telegraph poles and lush sunsets. Pop art on LCD screens and neon signs help set the changing scene as the Four Seasons tour their way into manual-worker, American hearts. The group appealed to "guys who were flipping burgers and pumping gas and girls behind the counter at the diner".
Des McAnuff 's slickly animated production takes far too long to reach the glory days, having spent excessive time with Carter's DeVito, the tough-talking, self-admiring founder who recruits Frankie and song-writer, Stephen Ashfield's oddly insipid Bob Gaudio. The show does, however, at last fly high with some of those hit anthems, dynamically staged.” EVENING STANDARD (2008)

“So Jersey Boys, which has been a huge, Tony-trawling hit on Broadway, starts with the massive advantage of having the most weirdly memorable sounds in the West End - all of a piece and yet all the time morphing. Even when the music seems to promise a melancholy meander (until a historically correct friend disabused me, I'd spent years convinced that 'Let's Hang On' was entreating, 'Let's hang up'), it can prise the saggiest of Sixties bottoms out of their chairs.
What's more, it's got a sharp book, and a far from weedy rags-to-riches story. Together with director Des McAnuff, Marshall Brickman (who collaborated with Woody Allen on Annie Hall) and Rick Elice have come up with a jukebox musical which doesn't look lazy, though it doesn't try to match the bizarre inventiveness of Catherine Johnson's Mamma Mia!, the mother of all tribute shows.” THE GUARDIAN

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