Francis Albert Sinatra, better known to the world as Frank, was born to Marty and Dolly, Italian immigrants to Hoboken, New Jersey, in 1915.
By the time he left this world in 1998, ‘Ol’ Blue Eyes’ was lauded as one of the world’s most influential entertainers. Sinatra the Musical, now open at the Aldwych Theatre, focuses on a short but tumultuous period in his life and career.
It’s 1942. Frank Sinatra (played by Joel Harper-Jackson) is a singer with Benny Goodman’s band, and his agent George Evans has set up a publicity stunt where hysterical girls disrupt the show.
Propelled into the big time, the young Sinatra heads for Hollywood and straight into the beds of a revolving door of starlets (Turner, Garland, Dietrich) while leaving his wife and baby daughter – both called Nancy – at home.
Harper-Jackson has clearly worked on ‘the voice’, although opening with “All of Me” doesn’t showcase it at its best. He’s also scrawny enough to approximate Frank physically, but doesn’t capture the charisma of a man who was, to be blunt, indifferent-looking, but with a certain ‘je ne sais quoi’.
I count myself as a fan. I even like The Miracle of the Bells, that attempted to pitch Sinatra against actors like Spencer Tracy who won Oscars playing priests. Miscasting, perhaps – but not terrible!
What Sinatra the Musical fails to show us is why this scrawny fellow became one of the greatest stars. It touches on a period where he exchanges marital bliss for an all-consuming affair with Ava Gardner – already twice-divorced – and where his career took a nose-dive.
A troupe of stars are briefly noted – Gene Kelly, Billie Holliday, even Frankie Laine. Hedda Hopper is probably best served with her outlandish hats and bitchy headlines.
Then there are the songs – most from Frank’s extensive 1940s and 1950s catalogue. Later hits “New York, New York” (1979) and “My Way” (1968) make brief appearances. Some are mined for dramatic licence, others for comedy (“You Make Me Feel So Young” starts with Frank and Ava, then becomes a quick duet for his parents).
The ensemble shine in Kathleen Marshall’s choreography, although her grasp on the dramatic scenes as director is less assured. The show uses minimal scene-setting to move us from place to place, although there is a moving dais and a barely-used revolve.
Presented under licence from Frank Sinatra Enterprises and co-produced by his youngest daughter, Tina, it is inevitable that the infidelities, brawls and unpleasant social associations that characterised the man would be minimised.
Sinatra had a golden voice and immaculate phrasing. How he developed his style and why he became the megastar he was in later years isn’t really explored.
This is very much sanisitised Sinatra. There’s a thread about strong women touched upon with wife, mistress and mother all showing considerable grit – yet Nancy is abandoned and Ava is limited by her studio’s ‘morals clause’.
Using strong lighting and video design (Bruno Poet, Akhila Krishman) we are transported to film sets, hotel basements and rooms, recording studios and even a graveside.
The leading ladies are Phoebe Panaretos (Nancy), Ana Villafañe (Ava), and Jenna Russell (Dolly). Adam Davidson taps like a trooper as Gene Kelly; Melissa Nettleford captures the frail warble of Billie Holiday.
Fans – we were actually given literal opening night fans with “I’m a Frank fan” on them, and front row seats are being marketed as ‘Swoonatra’ – will enjoy the songs but learn nothing new.
Those curious enough to attend a jukebox musical for a man who died 28 years ago will find a book that simplifies a complicated artist and human being, but has some striking moments.
Three stars.
Sinatra the Musical continues at the Aldwych Theatre.
Photo credit: Brinkhoff/Moegenburg