Sinatra at Aldwych Theatre Review
Photo by Birgit and Ralf Brinkhoff
Written by Annie for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
Sinatra the Musical has swung into the West End after its premiere at Birmingham Rep in 2023, and is sure to provide a night of Big Band energy and all the glamour of mid-century America.
Joe DiPietro’s slick but sometimes light book focuses on Sinatra’s breakthrough and imminent downfall years of the late 40’s to early 50’s, which offers a rare snapshot into his life, and provides a show where we may see a star burn too bright and lose all they’ve worked for.
Starting at the brink of the star’s breakthrough at Paramount theatre, he seemingly has it all - a devoted wife, a supportive family and girls throwing themselves at his feet. We quickly transfer to LA for Sinatra’s dive into Hollywood, starring against the iconic Gene Kelly, and Frank’s Lothario-esque ways quickly kick - told through an intimate rendition of “Come Fly with me”.
Frank is never portrayed as an innocent boy, and it’s quite hard to like his character for many moments, however; Joel Harper-Jackson’s performance and portrayal leaves no room to feel anything but total awe. Despite not being the most obvious lookalike for Sinatra; his vocals are insanely reminiscent of the star without feeling gimmicky. He is a total star in his own right and pays an exceptional homage to the late star whilst ensuring he demands the stage in his own right. His suave nature enables you to lean into the show and Frank’s less than innocent ways.
DiPietro’s book is a whistlestop tour through these formative years of Frank’s life - and although a lot of ground is covered, there are many elements that are brushed over a little too lightly, and perhaps the show would’ve benefitted more from being removed altogether. Elements touched on but not explored were Sinatra’s ambiguous links to the mafia, his refusal to play in segregated clubs and even an intimate friendly confiding in Billie Holliday (although Melissa Nettleford’s portrayal of Holliday was excellent.
We see Frank go from doting husband, to a passion hungry star - and DiPietro portrays the main women in his life as impressively strong willed, despite the pain Frank causes. Nancy (Phoebe Panaretos) refuses to be a doormat woman that waits for Frank’s return despite the breakdown of their marriage, and the gorgeous Ava Gardner (Ana Villafañe) makes her rule clear as she enters a passionate affair with the star. Both female lead’s numbers are not short of passion, power or talent and their harmonies provide beautiful new colour to Sinatra’s adored hits.
Gareth Valentine’s onstage 17 piece band is a real show stealer - providing all the delight of the era and bringing the much adored music to life. It’s hard to imagine Sinatra’s music without a big band, so it was a relief to see that under Dave Rose’s music direction this was not ignored or hidden from the production, but instead was kept at the heart of it all. Playing us through many of Sinatra’s early works - from “The Way You Look Tonight” and “You Make Me Feel so Young” through to “That’s Life” it’s a true celebration of the star’s discography.
Kathleen Marshall’s direction and choreography are truly what brings this show all of its success. It’s contemporary yet reminiscent of the era, feeling very much inline with Marshall’s style - as seen in her previous hits such as the 2011 Broadway revival of Anything Goes. Perhaps the only note is that the ensemble would have benefitted from being doubled in size. The choreography was exceptional, but matched with the simple staging, a larger ensemble would’ve really made an impact. Jon Morrell’s costuming provides everything you’d expect from 1950’s glamour - full circle skirts that twirl beautifully, suave suits and luxurious colour palettes.
Peter Mackintosh’s set design feels aligned with mid-century expectations but lacks in impact being more of the reserved side. It aids the show well with sliding platforms which continually bring the band centre stage, but otherwise could’ve gone a little further. Akhila Krishnan’s video designs are impressive, and marry well with Bruno Poet’s blinding lighting designs.
Overall this new biographical show of Sinatra is an impressive addition to the West End. Although it perhaps isn’t quite as refined as some of its jukebox musical counterparts, it provides an evening of excellent entertainment, divine vocals and a joyous exposé into the life of one of the world’s greatest stars. Closed out by a rendition of “New York, New York at the curtain call” it’s hard to not be swept up in this fabulous work. And, as well reminded of in the show; if it wasn’t for him most of us probably wouldn’t have been conceived - and what a way to celebrate such an iconic star.
Sinatra The Musical plays at the Aldwych Theatre until 10 April 2027.
★★★★
