Cape theaters: 'Jersey Boys,' '9 to 5,' condensed Shakespeare, 'Lightning Thief' and more

Taking a little theater vacation on Cape Cod? Check out these reviews of local shows, along with show times and how to get tickets. This list is updated all week as shows hit the stages.

They were just what they said – four boys from Jersey, who took the pop music world by storm in the 1960s with their unique sound – and Frankie Valli’s electrifying voice. The jukebox musical “Jersey Boys,” rocking at the Cape Playhouse through July 22, tells a rags to riches – and back again – story of how four kids from the Jersey streets, with a little push/pull from the mob, took a blockbuster journey to fame, complete with 100 million records sold and 71 chart hits. Their meteoric rise in the 1960s finally culminated with their induction to the Rock & Roll Hall of Fame in 1990.

Name of show: “Jersey Boys”

Book by Marshall Brickman and Rick Elice; music by Bob Gaudio; directed by Jessica Holt, direction and choreography by Joyce Chittick; performed at Cape Playhouse.

What it’s about: It’s all about the music, celebrating Gaudio’s stellar sounds, in “Walk Like a Man,” “Big Girls Don’t Cry,” “Can’t Take My Eyes Off You.” “Working My Way Back to You” and many more. Their singable quotient and incandescent beat raised the group’s sound several notches above the “ordinary.” It’s a story about the fleeting nature of fame and fortune, as four kids make good against all odds, through grit and the fabulous three-octave notes of Frankie Valli.

'Jersey Boys' nail nostalgia so well no one seems to care they are not the original Frankie Valli and the Four Seasons

What goes up doesn’t necessarily come down but, frankly, it often does, so it’s also a story of how Frankie, Nick, Tommy and Bob dealt with their sky-high but teetering fame and fortune.

See it or not: One British reviewer, who saw the musical when it first opened abroad, observed that the middle-aged audiences grooving at the show had apparently lost all memory of how old they were, and cared not at all that the performers were not the original Four, the show was that good. And it still is.

Highlights: Watch for the moment when the fledgling Four’s “sound” first comes together, after months of mediocre nights performing songs that never quite made it to memory. With Gaudio at the piano knocking out “Cry for Me,” Valli jumps in with his falsetto notes, while the other two grab guitars and punch in the new vibe.

Interesting fact: This production features a number of cast members who’ve performed in the Broadway, off-Broadway, Las Vegas or touring companies of the musical, including three of the four Jersey Boys: Nick Massi (played by Stephen Cerf), Tommy DeVito (Rory Max Kaplan) and Frankie Valli (Joey LaVarco). Music producer Bob Crewe is played by Barry Anderson, a six-year veteran of the Broadway show. Miles Aubrey, as loan shark Norm Waxman, played that role for nine years on Broadway, and took the role of arranger/composer Charlie Calello in the movie version of “Jersey Boys.”

Worth noting: It was fun to watch the audience barely staying in their seats, when really the only thing everyone wanted to do was get up and dance, as the newly christened Four Seasons exploded on stage with their brand-new hit “Sherry.”

One more thing: Director/choreographer Joyce Chittick is no stranger to Cape Cod or to Broadway. She directed the hit Playhouse production of “Grease” in 2022 and was principal choreographer for its blockbuster “South Pacific” (2018) and “A Chorus Line” (2019). Related Broadway credits include associate choreographer for the 2007 Broadway revival of “Grease,” and choreographer for the show’s national tour (2008). “Jersey Boys” is another keeper for her book of rave productions.

If you go:  “Jersey Boys” is at Cape Playhouse, Route 6A, Dennis Village, through July 22. Performances are 7:30 p.m. Monday through Saturday, with 2 p.m. matinees on July 8, 12, 13, 19 and 20. Tickets: $54.50 to $104.50 including fees. Call the box office: 508-385-3911, or visit www.capeplayhouse.com

Barbara Clark

'Lightning Thief' is monster-fighting saga with deeper truths

"The Lightning Thief: The Percy Jackson Musical" may not sound familiar to you if you graduated college before 2005 because that's when author Rick Riordan published the first of what would become a series of books, two movies and a cult classic for Gen Z.

But don't let that keep you from coming along for the mythological journey of fighting monsters, gods and demon math teachers because the almost subliminal messages are so profound. The play, on stage at Harwich Junior Theatre, is pulling the shade up on the challenges of ADHD and dyslexia in a magical and incredible way that shows our differences may set us apart, but they can also be our superpowers. Suitable for children and adults, it addresses the eternal questions many of us face: Is this is who I've truly become? Have I succumbed to being this way?

About the production:

"The Lightning Thief: The Percy Jackson Musical" was adapted from the book "The Lightning Thief" by Rick Riordan, with the play's book by Joe Tracz and music and lyrics by Rob Rokicki.

What it's about:

Percy Jackson feels like he can never get it right. Expelled from six different schools, everything changes when he is sent off to half-blood camp where he discovers that he is half-human and half-god. Not just any Greek god, but the son of Poseidon. Framed for stealing the lightning, Percy sets out for the quest of his life with the help of Annabeth and Grover to find the lightning and the true thief. Little does he know he would find much more along the way.

Highlights of the show:

DJ Ormond, as Percy, did a stellar job of providing the emotional core of the performance, which was evident from the start. Ormond and RobinHuibregtse, as Sally (Percy's mother,) were truly mesmerizing together. Carly Williams, as Annabeth and Caleb Cotoia as Grover were impeccable in their supporting roles. These actors not only had great voices, but all of them brought incredible heart to their performances.

Should you see it?

Definitely. The performance the cast gave was absolutely captivating. The cast often makes you forget they're acting because of how compelling their performance is.

Worth noting:

If you want to see an intense game of "capture the flag," you won't want to miss this. It's not the same game we played as kids.

One more thing:

While this production is adventurous, full of battles and deep meanings, it also is hilarious.

Interesting fact:

The setting and lighting for "The Lightning Thief," including smoke from dry ice, was pretty intense, but my four-year-old son loved it and pronounced himself unafraid.

Tickets and showtime:

7 p.m. Tuesdays through Saturdays and 3 p.m. on Saturdays and Sundays through July 23. Cape Cod Harwich Junior Theatre Company, 105 Division St., West Harwich, 508-432-2002. Tickets are $35 for adults and $18 for youth under 21. Wheelchair seating is the same price according to age. For online tickets and more information: capecodtheatrecompany.org

Ambermae Rivard

In 'A Man of No Importance,' musical theater saves a lonely man

The great Irish playwright Oscar Wilde would feel right at home in the Cape Rep production that opened this week. No, it’s not “The Importance of Being Earnest,” but “A Man of No Importance,” the man being Alfie Byrne, who directs a community theater group. A man of no importance? Well, maybe, but with Alfie’s love of theater, just like his hero, it is important. This musical is a celebration of the theater, live and on stage, which during COVID we missed for quite a while. As is expected, this Cape Rep production, directed by Art Devine, is delightful, funny, poignant, and, yes, has just the right Irish charm to take you for a fanciful spin into the joys of theatrical wonders.

About the show: “A Man of No Importance,” book by Terrence McNally, music by Stephen Flaherty, lyrics by Lynn Ahrens, presented by Cape Rep Theatre, directed by Art Devine..

What’s it about: In 1964 in Dublin, Ireland, an unassuming bachelor, Alfie Byrne, a bus conductor by day, is director of a community theater by night. The theater has produced plays by Shakespeare and George Bernard Shaw, but Byrne’s attachment is to Oscar Wilde. The local church social hall is the venue for Saint Imelda’s Players, which turns out to be a problem. Instead of mounting Wilde’s popular “The Importance of Being Earnest,” Alfie plans to produce Wilde’s provocative “Salome.” Not surprisingly, the church is not pleased. So Alfie and the troupe plan all kinds of shenanigans to proceed, telling the priest that the play is about John the Baptist.

The remarkable Anthony Teixeira, well-known to Cape theatergoers, leads the opening production number, the rousing “A Man of No Importance.” The talented cast of 12 doubles in several roles, which adds dimension to the story. Teixeira has a strong voice and commands the production with a nuanced performance as he explores his own identity even as he tells his actors this awareness can be the result of taking on the persona of a character in a play. It is a journey for Alfie, as he identifies with his hero, Wilde, and it is the theater that finally saves him.

Highlights of the show: Alfie’s sister, Lily, played by Jess Andra, provides a vital comic element. Andra’s astute sense of comedy, is played to much laughter in the second musical number, the resounding “The Burden of Life.” She is intent on playing matchmaker to her brother, who has little interest in her devices.

Coy Branscum, as Robbie, gives a stirring rendition of “The Streets of Dublin.” His voice rings out as the company joins him in a vibrant production number. Branscum has a vivid stage presence and, as Alfie’s friend, brings him insight and understanding. The second act opens vibrantly with Branscum’s spirited song-and-dance number “Confession.”

Kevin McMahon, as Carney, adds pizzaz as he leads the company in the snappy song and dance “Going Up!”

Teixeira, always a pleasure to watch, brings pathos to “Man in the Mirror” as he passionately explores his connection to Wilde in this soul-searching song,

Go or No Go: Even if Oscar Wilde isn’t a favorite of yours as it explores the connection between the Irish playwright, his life and his work, this musical is bound to please with the talented cast, clever direction by Devine and the message that there is simply no substitute for live stage performances.

Worth noting: Based on the 1994 Albert Finney film of the same name, the play was produced at the Mitzi. E. Newhouse Theater at Lincoln Center in 2002 and won the 2003 Outer Critics Circle Award for Best Off-Broadway Musical

Interesting fact: The idea for the show originated with McNally when he found the film in a video store and thought it was a good idea for a musical. McNally had written the book for the 1998 Tony-Award winning “Ragtime,” working with Flaherty and Ahrens, so he contacted them with the idea, and the rest is history.

If you go: 7:30 p.m. Wednesday through Saturday and Tuesday July 18 and 25, and 2 p.m. Sunday through Aug. 5. Cape Rep Theatre, 3299 Route 6A, Brewster, 508-896-1888; www.caperep.org; tickets: $40 and $25.

Debbie Forman

'9 to 5 The Musical' is bawdy fun with its look at women's revolution

FALMOUTH ― What a difference 44 years makes.

There were audible gasps when bad boss Franklin Hart Jr. (played by Antonio Esposito) smacked his secretary on the butt and said, “Good girl!”

You have to remember that “9 to 5 The Musical” is set in 1979, just seven years after Congress passed the ERA (Equal Rights Amendment, which has yet to be ratified) and decades before the “Me Too” movement uncovered a ton of collective misogynistic crap women faced in their careers.

That being said, the College Light Opera Company’s production of Dolly Parton’s “9 to 5,”  running through Saturday, July 8, makes personal vendetta the main course while serving up politics as a series of small spicy sides ― all the easier to digest.

When Hart loudly slapped Violet Newstead (Molly Sturgeon) on the derriere, he slapped the wrong bottom line!

The show: “9 to 5 The Musical,” is based on the 1980 film with Jane Fonda, Lily Tomlin, Dolly Parton and Dabney Coleman as their sexist, overbearing boss. Stage show music and lyrics by Dolly Parton, book by Patricia Resnick. College Light Opera Company stage director Robert Schneider, music director Jessie Rosso.

What it’s about: Told in 17 songs, this is the story of a trio of secretaries who, fed up with the old boys’ network, dream of how they would run the company. There is a bit of a mix-up involving the boss and rat poisoning (rat, get it?) which ends up with Hart tied to a bed in his own home for a month while his secretaries give the company a major makeover.

Highlights ― and lowlights ― of the show: This production is an explosion of color and energy led by a likable trio of determined dissidents (in their time) who sing, dance and pratfall their way to the top.

One big problem for Tuesday’s opening night was that the sound loop meant to emulate a busy office of clacking typewriters drowned out dialogue, singers and, at points, even the orchestra. It ruined some harmonies and made songs sound disjointed. Please, turn off the typewriters! There also seemed to be a problem with microphones, overall, with performers’ voices dropping out when they moved deeper back on the stage.

The trio of ladies who revolt ― Sturgeon as Violet, Bella Bosco as Doralee Rhodes and Brooklynn Stanley as Judy Bernly ― had sweet, if not consistently strong, voices. Stanley really nailed the big notes at the end of “Get Out and Stay Out” and then looked momentarily stunned at how well the big finish went. Sturgeon, the most consistent voice, was wonderful to watch as she swung from powerhouse to someone willing to take a second chance on love.

Kudos to Bosco for not trying to imitate Parton in the role, but still managing to capture the fierce vulnerability that keeps the country singer still on the scene at age 77. Bosco’s “turn this rooster into a hen with one shot!” speech came through like a tornado, and her rendition of “Backwoods Barbie” will break your heart.

Esposito’s performance as bad boss Hart and Rebekah Freeland as Roz Keith, the frumpy secretary who loves him, are truly wonderful. The steamy dream sequence between them, “Dance of Death,” will have you covering the eyes of any children in the audience while you laugh and clap.

Go or no-go: Go. It was a blast opening night and can only get better with sound adjustments.

If you go:  College Light Opera Company, 58 Highfield Drive, stages a different show every week: Shows are 7:30 p.m. Tuesdays, Wednesdays, Fridays and Saturdays, 2 p.m. Wednesdays and Thursdays. Tickets, at $40, can be purchased online at collegelightoperacompany.com Next up, starting July 11, "The Music Man."

Gwenn Friss

Buckle up, buttercups. It’s a wild ride.

The Wellfleet Harbor Actors Theater (WHAT), a professional nonprofit theater, continues its season with a fast-paced, energetic, irreverent, dizzying romp through the collected works of, arguably, history’s greatest playwright.

About the production: "The Complete Works of William Shakespeare (Abridged)” written by Adam Long, Daniel Singer and Jess Winfield, with a new revision by Daniel Singer and Jess Winfield. Directed by R. J. Tolan. Featuring Lacy Allen, Madeleine Bundy and Stephen Smith Stout.

What it's about: It’s about the nuttiest show you may see this summer season. Described as “37 plays in 97 minutes,” the show is a pastiche of Shakespeare, slapstick, improv, burlesque, topical/local references; and audience participation which simultaneously amuses, intrigues and exhausts. (It really DOES cover all the plays!)

Highlights of the show: First, the cast. Three talented, lively performers meshed and choreographed seamlessly in this challenging format as they break the fourth wall, engaging and addressing the audience, involving them in the action. Director R.J. Tolan masterfully kept the breakneck pace going. And, the props! A magical trunk sits at the back of the stage from which blow up boats, dinosaurs, dummies and body parts (don’t ask) emerge. Oh, and the life-sized sock puppet/ghost.

Go or skip? Go. It’s ridiculously entertaining. But note that this revision, updated from the original play with contemporary and local references, could benefit from some serious edits. There is a gratuitous sequence which ends Act One and sucks the air out of the start of the second act, which is also overly long. It becomes, in the end, a bit tedious.

Worth noting: Paige O’Connor (understudy), was brilliant on Press Night, in a flawlessly hilarious performance.

One more thing: You don’t have to know or love Shakespeare to enjoy this production. As they admitted, “We don’t have to do it justice, we just have to do it.”

Interesting fact: In its original iteration in the 1980s, this play was London’s longest-running comedy; nine years in the West End.

If you go: Tickets: $40, $36 for seniors, $15 for students and balcony seats with partial view, $2.50 fee on each. 8 p.m. Mondays, Wednesdays through Saturdays, through July 29, Wellfleet Harbor Actors TheaterOutermost Performing Arts Center, 2357 State Highway Route 6, Wellfleet, 508-349-9428.

Carol Panasci

This article originally appeared on Cape Cod Times: Cape stages: 'Jersey Boys,' working girls, 'Lightning Thief," the Bard