Jersey Boys was reviewed at the Playhouse Theatre, Edinburgh where it continues until 17 October 2026. The tour continues until 21 August 2027.
Star rating: four stars ★ ★ ★ ★ ✩
As ever, Jersey Boys is just too good to be true. The biographical show may well be 20 years old, but it feels fresh as a daisy in this latest production.
Telling the story of The Four Seasons, the show is very clear, concise and totally engages the audience. Luke Baker as Frankie Valli turns in a beautifully nuanced performance, tracking his story from the kid joining the three ‘grown-ups’ as he masters his craft as a singer, mentored by whichever of the other band members isn’t in prison at the time.
Tommy DeVito, played by Scott Goncalves for the press performance, is the mover and shaker – the ambitious member of the band, leading an extravagant lifestyle. Goncalves is a compelling performer, managing to convey both the artistry of DeVito and his avaricious nature convincingly. Lewis Kennedy plays a thoughtful, anchored Nick Massi, whose bass voice is the excellent counterpoint to Valli’s falsetto, adding an air of calm in the dynamics of the group.
Completing the quartet, Toby Miles as Bob Gaudio polishes up the foursome. Increasing the artistry of the group and creating songs that particularly feature Valli’s unique voice, the group moves out of the shadows and into the spotlight. Miles’ Gaudio wears his genius as a writer lightly: there’s an acceptance of his talent as being so natural that it is simply part of his character, as normal as breathing. A well-considered portrayal.
Their lives offstage are sketched in; the musical numbers are all delivered brilliantly and with a frequency that edges out the book, the story of the Jersey boys as they become global stars. Slim pickings for female performers here – perhaps a sign of the times. Cameos from Sydnie Hocknell and Olivia Mitchell as the women in Valli’s life are both gorgeous interpretations with Artemis Chrisoulakis playing the talented and tragic figure of Francine.
The fluidity of Des McAnuff’s production is second to none. Each scene is clearly drawn and blends, as if by magic, into the next. Each scene is packed with detail, detail, detail, backed by impeccable design and spot-on lighting.
A remarkable show that leaves the audience with songs in their heads and smiles on their faces.
Fiona Orr
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