Sinatra the Musical at Aldwych Theatre review: ‘Old Blue Eyes’ musical is frankly disappointing

Sinatra the Musical at Aldwych Theatre: A Disappointing Revival

Sinatra the Musical at Aldwych Theatre - Frank Sinatra's life story, spanning nine years from 1945 to 1954, is the backbone of this stage production. Yet, the narrative feels tenuously stitched together, offering a superficial take on the icon’s journey. While the show boasts a grand scale and impressive staging, its script and character development are lackluster, leaving audiences questioning its purpose. The musical’s premise—highlighting Sinatra’s triumph over adversity—is undermined by its inability to fully capture the complexity of his persona.

The Overarching Narrative and Character Flaws

From the early days of his collaboration with Benny Goodman’s ensemble to his Academy Award-winning role in *From Here to Eternity*, the show attempts to trace Sinatra’s rise. However, the personal sacrifices of his family are glossed over, with his wife and children relegated to the sidelines. His extramarital affairs and tempestuous personality are emphasized, yet the story lacks emotional depth, reducing his struggles to a series of clichéd tropes. The dialogue, peppered with lines like “Why, Lana Turner/Marlene Dietrich/Ava Gardner, fancy meeting you here,” feels overly contrived, as if trying to recapture the essence of his fame through forced nostalgia.

The show’s interpretation of Sinatra’s character is inconsistent. He is portrayed as a self-centered figure, yet the narrative struggles to evoke sympathy for him. His reputation is depicted as a sliding scale, plummeting into obscurity before being rescued by the Oscar win and his partnership with Nelson Riddle. This reimagining of his career is presented as a breakthrough, but it feels like a last-minute attempt to salvage a floundering plot. The mention of the concept album’s invention, tucked into the exposition, adds little to the overall narrative, leaving the audience with more questions than answers.

Performance and Production Elements

Joel Harper-Jackson, playing Sinatra, delivers a technically polished performance, mastering the vocal cadences and stylistic nuances of the legend. His rendition of iconic tracks, such as *Come Fly With Me* and *My Way*, showcases his ability to replicate Sinatra’s smooth, confident tone. However, the emotional resonance is missing, with his delivery feeling more like a recitation than a heartfelt expression. The musical’s reliance on Sinatra’s hits as its central theme is both its strength and its weakness, as the songs are often recontextualized to fit the story’s framework.

While the cast is large and vibrant, the character portrayals are one-dimensional. Phoebe Panteros embodies Sinatra’s wife Nancy as a long-suffering figure, and Jenna Russell’s performance as his mother, Dolly, leans into hard-boiled realism. Lee Zarrett, as George the press agent, projects anxiety but lacks the subtlety needed to make the role compelling. These performances, though competent, feel like caricatures rather than fully realized characters. The musical’s script, penned by Joe DiPietro, is riddled with overused phrases and predictable arcs, which are not softened by Kathleen Marshall’s direction, though her choreography is undeniably flashy.

Ava Gardner’s portrayal by Ana Villafañe is a standout, albeit a stylized one. She exudes a cartoonish charm, embodying the liberated sensuality associated with the actress. Her dramatic flair is matched only by the show’s tendency to overemphasize her role, which sometimes overshadows Sinatra’s journey. The production design, led by Peter McKintosh, is visually striking, with sets that evoke the skylines of Manhattan and Houston and the iconic bars of Ciro’s and the Brown Derby. The costumes, too, are a highlight, blending glamour with a retro aesthetic that complements the era’s spirit.

Despite its shortcomings, the musical does feature effective ensemble numbers. A sequence in Pantone blazers, another in pastel gowns, and a third in tailcoats—possibly from a different production—demonstrates the creative energy behind the show. The brass-heavy orchestra adds a lush, theatrical backdrop, balancing the large cast and enhancing the musicality of the performances. Yet, these elements are often overshadowed by the narrative’s lack of cohesion and the characters’ shallow development.

Target Audience and Artistic Merit

Who is this show aimed at? Sinatra, a cultural icon, has been resurrected through CGI and AI multiple times in recent years. His original fanbase, now aging, may be less inclined to invest in a production that feels like a watered-down version of his legacy. Even for younger audiences rediscovering his work, the musical’s blend of hits and dramatized anecdotes may fall short. The high West End prices and the polished but unoriginal staging raise the question: Is this a must-see experience, or a missed opportunity?

The reviewer notes that the musical’s attempt to showcase Sinatra’s resilience and artistic brilliance is marred by its hagiographic tone. It sanitizes his personality, offering a curated version of his life that glosses over his flaws. The inclusion of *Nancy With the Laughing Face*—a song referencing his daughter rather than his wife—adds a layer of irony, as it feels like an awkward attempt to connect with modern sensibilities. These moments, while well-intentioned, contribute to a sense of detachment from the central narrative.

In conclusion, the musical is a lavish but incomplete tribute to Sinatra. It succeeds in delivering the hits, but the story behind them is a jarring blend of clichés and half-baked interpretations. The audience is left wondering if they’ve paid for a spectacle or a shallow homage. While the production’s visual and auditory elements are undeniably strong, they cannot compensate for the narrative’s lack of substance. For those seeking a more nuanced portrayal of Sinatra’s life, this show may not be the ideal choice. However, for fans of the music or those who appreciate grand theatrical presentations, it remains a worthwhile, if imperfect, experience.

“I’ve seen you pay hospital bills for total strangers!” blurts his press agent George. “Damn perforated eardrum!” says Frank himself, explaining his lack of war service.

With its blend of big band arrangements and cinematic flair, the musical offers a nostalgic trip for those who remember the golden age of showbiz. Yet, it feels like a curated highlight reel rather than a meaningful exploration of Sinatra’s legacy. The reviewer suggests that a more compelling version of the story—perhaps one that embraces his complexity—would be a true testament to the man behind the legend. For now, this production leaves audiences with a sense of satisfaction but not of fulfillment.

Booking is available until April 10 at sinatrathemusical.com. While the show is undeniably entertaining in its own right, it raises the question of whether Sinatra’s story can be told without sacrificing its authenticity. The answer, according to this review, is not yet clear.