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Prepare to secure your tickets for the Palace, Palladium, Hollywood Bowl, and the Baths of Caracalla! “Just in Time,” a new bio-musical celebrating the life of Bobby Darin, made its debut on Saturday at Circle in the Square, showcasing headliner Jonathan Groff’s readiness to shine on the world’s most illustrious stages.
Groff, who captured a Tony Award last season for his role in “Merrily We Roll Along,” has also received nominations for his performances in “Hamilton” and “Spring Awakening.” Each of these works featured him in ensemble casts, where he integrated seamlessly into the narrative.
However, in “Just in Time,” he presents a vocal performance that surpasses previous expectations. Opening with “This Could Be the Start of Something Big” followed by “Just in Time,” Groff’s delivery may not channel Bobby Darin directly, but it undeniably showcases his impressive talent. Observing Groff in previous Broadway roles, I was unaware he possessed the charisma and stage command he exhibits as a versatile song-and-dance performer here.
A unique moment unfolds during the performance. Groff, embodying his character, introduces himself with, “I’m Jonathan. I’ll be your Bobby Darin tonight.” This meta-theatrical choice blurs the line between performer and character, reminiscent of the recent Broadway musical “Smash,” where actors portray fictional representations of real personas.
Yet, Groff also reflects on his surprising similarities to Darin, humorously noting, “I never would’ve guessed I’d have anything in common with [Darin], the playboy crooner.” Both men share a profound dedication to entertainment. Groff even humorously points out his own onstage perspiration, noting that “Just in Time” requires an audience warning due to the chilly temperatures of Circle in the Square.
Returning to Darin, Groff’s remarks about “Mom’s pumps” stir intrigue. While Darin may not hold Marilyn Monroe’s iconic status today, “Just in Time” opts for a conceptualization rather than a mere impersonation.
Interestingly, Groff’s portrayal diverges sharply from the flirtatious recklessness typical of Darin, whose life was marked by a blend of charm and a rebellious spirit. As the narrative reveals, Darin faced familial disapproval, illustrated through the disapproving parents of his love interests like singer Connie Francis and actress Sandra Dee.
Contrastingly, Groff exudes a clean-cut persona from Pennsylvania’s Amish country, showcasing his exceptional talent in this era saturated with cynicism. His performance reflects a shared desire to engage and entertain, yet the distinction between their vocal styles is profound. Darin’s was infused with swagger, while Groff’s takes on an almost ethereal quality, captivating audiences without resorting to falsetto.
Groff deserves a musical crafted around his unique strengths, rather than one based on someone else’s legacy. While he could have simply performed the Darin catalog, many songs, such as “Splish! Splash! I Was Taking a Bath,” may not hold the same appeal today. Even a perfect imitation of Darin would not elevate “Just in Time” beyond a lackluster biographical musical. The script sometimes feels cluttered with overly factual dialogue, including a mundane rundown of Golden Globe nominations—a detail that diminishes the narrative impact.
In a particularly questionable moment during Act 2, Henningsen, portraying an endearing Sandra Dee, quips about a lack of chemistry with Rock Hudson, which raises eyebrows as it offers no depth to the character dynamics. It’s perplexing, especially since she wasn’t Hudson’s co-star in “Come September.” Her chemistry with Groff, however, was charming and palpable.
Gracie Lawrence’s rendition of Connie Francis, however, doesn’t fare as well, leaving audiences baffled as to the appeal of her hit “Who’s Sorry Now?”
Directed by Alex Timbers, who has had mixed success on Broadway with productions like “Rocky,” he has also directed favorites like “Bloody Bloody Andrew Jackson.” The musical truly shines during Groff’s singing and dancing segments, enhanced by stunning choreography from Shannon Lewis. When Groff performs, “Just in Time” captivates, overshadowing moments where the scripted dialogue disrupts the rhythm. Given Timbers’ involvement, the project may have benefited from a more coherent narrative structure.
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www.thewrap.com