Currently touring the UK, The Ballad of Johnny & June – billed as “The Johnny Cash Musical” for anyone who hasn’t made the connection – is another jukebox musical mining the back catalogue and life story of a legend. Director Des McAnuff, who co-writes the book with Robert Cary, knows the genre well, having previously been behind Jersey Boys.
Johnny Cash (1932–2003) and June Carter (1929–2003) were both giants of country music. Cash followed a route into music similar to Elvis Presley, moving from menial work into Sam Phillips’ Sun Studio. Rather than becoming a teen idol, he cultivated the hard-man image defined by his all-black wardrobe and prison performances.
Carter, meanwhile, was born into country music royalty. As part of The Carter Family, the “First Family of Country Music”, she had been performing since childhood. Cash’s first marriage to Vivian Liberto is included, although the controversy surrounding their supposed interracial marriage is omitted. It’s a curious decision given Anne-Marie Wojna, a woman of colour, is cast as Vivian.
The musical is framed by John Carter Cash (Ryan O’Donnell), the couple’s son and the narrator of their story. Born after June had been told she could have no more children, he presents himself as both witness and custodian of the family mythology.
Cash and Carter are described here as “the first couple of country”, although George Jones and Tammy Wynette might dispute that title. What is beyond question is that together they were an extraordinary musical partnership who loved deeply but were not always able to keep each other safe.
Their story is one of infidelity, addiction, fame and, eventually, a marriage that became central to both their lives. The fact they died within months of each other speaks to the depth of that bond.
Whether there’s enough here for audiences who know little about Cash is another matter. The trajectory is familiar: success, temptation, addiction and redemption. It’s competently told but rarely surprises, shying away from exploring some of the more difficult aspects of either life in much depth.
Fortunately, the performances are strong. Christopher Ryan Grant captures Cash’s charisma and vulnerability without over-impersonation, while Christina Bianco‘s June Carter is witty, warm and more than capable of matching him. From their charming “he said/she said” first meeting through an increasingly complicated romance and the fallout from years of addiction, they make an engaging central pairing.
Musically, there are some inspired choices. Using “Hurt” to accompany Cash’s addiction feels a little obvious, given its association with the closing years of his life, but it remains highly effective. Grant’s portrayal of a man physically and emotionally broken is a world away from the swaggering performer of the first act.
The supporting cast – Christopher Short, Chomba S. Taulo, Peter Peverley, Abigail Matthews, Anne-Marie Wojna and Celyn Cartwright – take on multiple roles as family members, musicians, television executives and figures including Kris Kristofferson. His “Sunday Mornin’ Comin’ Down”, famously recorded by Cash, is one of the evening’s highlights.
The familiar hits are all present: “Ring of Fire”, “Jackson”, “I Walk the Line”, “A Boy Named Sue” and “Folsom Prison Blues”. The lovely “Guess Things Happen That Way” becomes an effective quartet for Vivian, Rip, Johnny and June, while “Ain’t No Grave” is transformed into a stirring hymn led by Cash’s brother Jack, who died as a boy. Elsewhere, “Hey Porter”, “I’ve Been Everywhere”, “Wildwood Flower”, “Always on My Mind” and even Vera Lynn’s “We’ll Meet Again” all make appearances. As with most jukebox musicals, some songs fit the narrative more naturally than others.
John Carter Cash’s involvement as executive producer is evident in the show’s affectionate portrayal of his parents. O’Donnell’s narrator acknowledges the difficulties of growing up with two high-achieving addicts, but the production ultimately celebrates their music and legacy rather than interrogating their flaws. He strums the guitar while the excellent band, partly hidden from view, does most of the musical heavy lifting. Occasionally they overpower the singers, particularly during “Jackson”, but their playing is consistently accomplished.
I’m giving this 3.5 stars. It has a much stronger second half and covers an impressive amount of ground, but ultimately pulls its punches, retreating from the more challenging aspects of Johnny Cash and June Carter’s lives in favour of a more comfortable celebration of their legacy.
The Ballad of Johnny & June continues at Richmond Theatre this week, then continues on tour – see https://johnnyandjunemusical.com/.
Photo credit: Pamela Raith