Beautiful tells the story of a precocious 16-year-old who grows to become one of the most significant singer-songwriters of the twentieth century.
That she is a girl who sings girl songs is neither here nor there—though it was significant. From her push to go to see a publisher—Donnie, played by Robin Simpson—to sell one of her songs, her trajectory is set when he announces, “I’ll buy it!” From then, she develops as a songwriter but struggles as a lyricist, until she meets Gerry—played by Connor Going—who becomes her writing partner and husband. She is still only a teenager.
Their success leads to bright lights and temptations, which Gerry is unable to resist until he unravels not once but over again. Saved by Carole the first time, she eventually realises that she is able to work this thing alone and moves to California, divorces Gerry and then returns to headline Carnegie Hall. Gerry’s prophecy of them making it big becomes all about her making it big as the concert she gives in her native New York begins our story and ends it in a triumph which sees that trajectory land on fertile ground.
With a back catalogue you could hum for hours whilst trying to remember the title of the song, Carole King has much of this musical written for us. The songs are such classics, and hearing them both in original format and full orchestration—14-member band with multi-instrumentalists—is astonishing. Despite a few sound issues—with so many mics onstage and a full throttle desire to do the songs justice, hardly surprising—this belts out classics and gives nuance to some of their lyrics.
It is bright, sparkly and full-on when the songs take centre stage, but it means that the storyline can play second fiddle to the narrative. Scenes become adjuncts, expository rather than wholly explanatory, though there are some really good lines which do land.
Since its first run in 2013, this is a show which is unable to age due to it showing us what the factory hits were of the 1950s through the '60s and a period that may not be frozen in time but it is deep in our conscience. Performances are polished and on point, and with both the opportunity of singing classics, as well as the pressure of matching the original, the sublime, incredible and fantastic Kirsty Findlay as Carole King shines. It is a mesmeric performance which hits the notes but does so much more. The fragility, nervousness and emergence of a true legend is poised and pitched as perfectly as her singing.
The ensemble cast are also impressive. You really feel a collective desire to use the songs as vehicles and platforms as much as for showcasing genius. It is what makes this much more than a jukebox musical. It works as a journey because the cast hold out a metaphorical hand for us to grab and be led by.
King’s songs are heartfelt and anchored in the experience of a woman developing and growing up. Despite the factory in which she found herself, it is worthwhile to experience a musical which does not dwell on the predatory nature of the industry. There are no demons to be lanced and nobody out there who is waiting in the wings to pounce. The villain—Gerry—is a flawed human who has at least the humility to turn up and apologise before the end without any expectation of redemption—just as it should be.
We do not go down rabbit holes of depression as King has to recover from humiliation after humiliation at his hands. Her spirit is being celebrated as a woman who had a positive life force that came through her songs in a manner which should be admired more than analysed.
Whilst the nature of some of the drama may lack depth, it is more than made up for by the gusto of the performances.