‘JUST IN TIME’: Jonathan Groff. Photo: Matthew Murphy & Evan Zimmerman.

JUST IN TIME
Book by Warren Leight and Isaac Oliver
Based on an original concept by Ted Chapin
Music supervision & arrangements by Andrew Resnick
Choreography by Shannon Lewis
Directed by Alex Timbers
Through September 6, 2026
Circle in the Square
235 W 50th St.
https://justintimebroadway.com/

Editor’s Note: Jeremy Jordan has taken over the role of Bobby Darin. Isa Briones is now in the role of Connie Francis, and Carrie St. Louis is now playing Sandra Dee.

By Scott Harrah

Tony Award winner Jonathan Groff gives his best performance to date in Just in Time, the new Broadway musical about the iconic Bobby Darin, the velvet-voiced pop singer of the 1950s and 1960s who died at age 37.  Mr. Groff brings the man who sang such classics as “Splish Splash,” “Mack the Knife,” “Dream Lover” and “Beyond the Sea” to vivid life in the best “jukebox musical” since Jersey Boys nearly two decades ago. One doesn’t need to be a Bobby Darin fan to appreciate the nonstop energy that Mr. Groff brings to the role.

Broadway via the Copacabana & Las Vegas

Scenic designer Derek McLane has turned Circle in the Square into a glorious retro nightclub that pays homage to the venerable Copacabana in Manhattan and the glitzy Las Vegas lounge stages of yesteryear. It’s a winning tribute to a bygone era when stylish ladies and gentlemen would gather in cozy, intimate nightclubs to sip cocktails, smoke cigarettes and marvel at the latest pop crooners of the day. Shortly after the show opens, Mr. Groff reminds us that he’s not the real Bobby Darin and we’re actually watching this spectacle “in the basement of Wicked.”

What’s more, the mellifluous orchestrations by music supervisor Andrew Resnick and Michael Thurber bring all the ebullient brass and jazz-hot sounds of a “big band” orchestra to the Broadway stage. This lets audiences immerse themselves in the nostalgic glory of the classic songs being performed.

As an added treat, we see performances by two of Mr. Darin’s real-life romantic partners: The inimitable, golden-throated pop queen Connie Francis (Gracie Lawrence); and “America’s sweetheart,” movie superstar Sandra Dee (Erika Henningsen), who was briefly married to Mr. Darin. Both women, like Bobby Darin himself, lived very public, volatile lives and were scandalous tabloid fodder in their heyday and beyond.

An icon & his lady loves

Bobby Darin (real name Walden Robert Cassotto) had a short but dramatic life. Growing up in East Harlem, New York, he suffered from bouts of rheumatic fever as a child and doctors said he would only live to be 16, but he proved them wrong.

He started out as a songwriter for Ms. Francis. She was already a household name with such hits as “Stupid Cupid” and “Who’s Sorry Now?” Darin immediately took a shine to the star and she was also smitten with him, but her parents did not approve.

Goody-two-shoes matinee idol Sandra Dee also won his heart. After pouring on lots of charm and giving flowers to her demanding, overprotective mother (Valeria Yamin), Mr. Darin got her blessing and was allowed to date Ms. Dee while filming Come September in Portofino, Italy in 1960. She was just 18 and he was 24 at the time. They had a brief, passionate affair and later married. Ms. Dee and Mr. Darin had one child, son Dodd, before divorcing.

Scandalous family secret

Mr. Darin was raised by Polly Walden (Michele Pawk), his nurturing mother. His older sister Nina (Emily Bergl)  looks out for him as if she is his nanny. When Mr. Darin becomes successful, he hires Nina’s husband—his brutish brother-in-law, Charlie Maffia (Joe Barbara)—as his personal valet. All three family members have been keeping a scandalous secret from Bobby all his life and his world is shattered when he learns the truth

Outstanding performances

Director Alex Timbers skillfully directs the gifted cast, all of whom give outstanding performances.

The supporting cast are certainly worth noting. Gracie Lawrence is superb as Connie Francis, singing the nostalgic star’s songs with the right mix of zest and vulnerability. Ms. Lawrence’s take on the Connie Francis standard “Who’s Sorry Now?” is one of the show’s highlights. She also captures the singer’s demure presence and powerhouse presence with aplomb. That’s no easy task considering Ms. Francis was a superstar in the 1950s and 1960s, singing both pop chart-toppers as well as ethnic standards. Songs from her two albums Connie Francis Sings Italian Favorites and Connie Francis Sings Jewish Favorites are still played at many Italian and Jewish weddings today.

Erika Henningsen also gives a knockout portrayal of Sandra Dee, another megastar from the era. Ms. Henningsen brings all the saccharine sweetness and melodrama to the character, and does so with consistent conviction. It’s quite a departure from her most famous Broadway role, originating the lead part of Cady Heron in Mean Girls. 

Michele Pawk as Polly Walden, and Emily Bergl as Nina, both bring plausibility to their respective roles, and each has a unique and crisp voice. Valeria Yamin is magnificent as Sandra Dee’s overbearing mother.

Noteworthy supporting cast

Other noteworthy supporting performances include the always-delightful Cesar Samayoa (How to Dance in Ohio and Come From Away). Mr. Samayoa really nails the part of 1970s music maven Don Kirshner, the man who discovered many pop and rock greats, including Bobby Darin. Gen X audiences will remember his 1970s TV show “Don Kirshner’s Rock Concert.”  Mr. Samayoa has an amazing voice and does a fine job portraying Mr. Kirshner as well as other small parts in the show. In addition, Joe Barbara is the ultimate New York tough guy as Charlie, Bobby’s personal valet and brother-in-law.

Jonathan Groff’s best role yet

Bobby Darin is the role Jonathan Groff was born to play. He won a Tony Award for Merrily We Roll Along and was nominated for a Tony for his portrayal of Mad King George in Hamilton. However, he is at the top of his game here. Mr. Groff has the charm, acting chops and beautifully textured voice to bring Bobby Darin back to glorious life. He sweats profusely and is a manic, energized force who keeps us riveted and mesmerized from the moment the show starts and he never lets up. Don’t miss Just in Time.

Editor’s note: Just in Time received six 2025 Tony Award nominations, including one for Jonathan Groff for Best Performance by an Actor in a Leading Role in a Musical.

Published April 30, 2025
Reviewed at press performance on April 26, 2025

‘JUST IN TIME’: Jonathan Groff & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Gracie Lawrence. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Jonathan Groff & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Gracie Lawrence (Connie Francis) & Jonathan Groff (Bobby Darin). Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Christine Cornish, Jonathan Groff & Julia Grondin. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Valeria Yamin, Michele Pawk & Julia Grondin. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Erika Henningsen. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: (left) Emily Bergl; (right) Caesar Samayoa. Photos: Matthew Murphy & Evan Zimmerman & Caesar Samayoa is courtesy of Polk PR.

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‘HOW TO DANCE IN OHIO’: The cast. Photo: Curtis Brown.

HOW TO DANCE IN OHIO
Book & lyrics by Rebekah Greer Melocik
Music by Jacob Yandura
Directed by Sammi Cannold
Choreography by Mayte Natalio
Belasco Theatre
111 West 44th Street
(212-239-6200), howtodanceinohiomusical.com

By David NouNou

Like the musical Harmony which opened last month, this is yet another well-intentioned show. In this case it showcases seven autistic young adults, both men and women, navigating through their daily lives. Based on the HBO documentary of the same name, the musical adaptation of How to Dance in Ohio is not asking for pity or to feel sorry for these seven individuals but to give us an understanding and a perspective on how they deal with life on a daily basis.

Set at the Amigo Family Counseling, a real Columbus, Ohio mental-health center for autistic people, run by Dr. Emilio Amigo (Caesar Samayoa), whose courses are in life skills. They are social in nature (how to ask for something), emotional (how to deal with daily rejections) and physical (how to navigate). They are given exercises in dealing with issues and participation is voluntary. All of this is ultimately to prepare for the facility’s spring formal prom dance that will take place in 99 days.

It’s not just the pupils who have the struggles of daily routines; it is also the families of the children. The excitement of two mothers taking their daughters Caroline (Amelia Fei) and Jessica (Ashley Wool) to Macy’s to buy them a dress for the dance and feel the magic of that special night they felt when they were young. Or the widowed father wanting his shy daughter Marideth (Madison Kopec) to step away from her laptop and enter the real world and go to the dance. Also, the engineering genius, Drew (Liam Pearce) who wants to go to the prom but doesn’t know how to ask Marideth to go with him.

Another issue focuses on Dr. Amigo and his assistant, daughter Ashley (Cristina Sastra) who also has problems. After her leg injury, Ashley has lost her interest in dance and feels the need to stay at the center to help with these young adults to sort out their problems, but her father is insistent on her resuming her dance courses at Julliard. Further complications arise when a podcast is released praising Dr. Amigo and making it all about him and neglecting the pupils who made such progress to get this far, and in turn this alienates them from Dr. Amigo, and they refuse to go to the prom which derails all the progress they made.

Music by Jacob Yandura and lyrics by Rebekah Greer Melocik aren’t so much memorable as they are an introduction to the characters, songs like: “Today Is,”  “Under Control,” “The How-To’s,”  “Hello, How Are You?”  These aren’t so much as songs that play in our heads but more like instructional guidelines for the characters and their daily routines.

The seven pupils are not performers, but they are autistic adults, who happen to be very talented and can sing beautifully. The pupils include Liam Pearce, Imani Russell, Amelia Fei, Ashley Wool, Madison Kopec, Conor Tague and Desmond Luis Edwards. They are an ensemble but they all have their moment to shine and show us what makes them so special. Caesar Samayoa, last seen in Come From Away, manages to balance the difficult role of teacher, father and friend expertly.

The quest for How to Dance in Ohio is to enlighten us, but it is done in the most obvious way with a lugubrious, repetitive book. Like the delightful 2018 musical The Prom, there is a prom to go to at the end. The Prom had a great set by Scott Pask and gave the illusion of a multitude of joys taking place; the set here by Robert Brill is threadbare and lacks any illusion of joy. The musical is also hindered by Sammi Cannold’s lackluster direction.

The true joy that is extracted in How to Dance in Ohio is seeing seven talented young adults giving it their all.

Edited by Scott Harrah
Published December 15, 2023
Reviewed at December 13, 2023 press performance.

‘HOW TO DANCE IN OHIO’: Madison Kopec (center) & cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO’: Desmond Luis Edwards & cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO: Liam Pearce & cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO’: Ashley Wool (center) & cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO’: Madison Kopec, Liam Pearce & cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO’: Caesar Samayoa (center) & cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO’: The cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO’: The cast. Photo: Curtis Brown.

‘HOW TO DANCE IN OHIO’: The cast. Photo: Curtis Brown.

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‘COME FROM AWAY’: The cast. Photo: Matthew Murphy

COME FROM AWAY
Book, music & lyrics by Irene Sankoff & David Hein
Directed by Christopher Ashley
Gerald Schoenfeld Theatre
236 West 45th Street
(212-335-1873), http://comefromaway.com/

By Scott Harrah

The inherent goodwill in humanity and the kindness of strangers during a global crisis are both ongoing themes in this brilliant sleeper hit musical.  A musical about what happened when nearly 7,000 people from 38 transatlantic jets were forced to land and stranded in tiny Gander, Newfoundland, Canada on September 11, 2001 may not sound like “feel good” material to fill one hour and 45 minutes. “A 9/11 Broadway musical? Really?” one first thinks. However, it is this show’s ability to surprise and touch even the most cynical, jaded New York theatergoer that makes it so unusual and emotionally powerful.

Most of us probably forgot about or never paid attention to the little human interest story (overshadowed in the press by the grisly articles dispatched from Ground Zero in Manhattan, the Pentagon in DC and Shanksville in PA) about how a remote town in Maritime Canada opened its homes and hearts to thousands unable to return to the USA when planes were grounded as U.S. airspace closed on 9/11.

Beowulf Borritt’s barren set of weather-beaten trees and little else vividly depicts Newfoundland.  The show opens with the rousing number “Welcome to the Rock” (a reference to the fact that Newfoundland looks like a giant rock in the North Atlantic “between there and here”), and the cast sings in twangy, hard-to-decipher Newfie brogues (a strange hybrid of Canadian and Irish dialects).

The cast’s frenetic energy and the Celtic-themed music command our attention.  Broadway rarely gets original shows that are not adaptations of a film or book, and this one is based on real-life events and has a docudrama feel to it.  On paper it sounds like it shouldn’t work at all, but the fact that it does beautifully makes Come From Away all the more trenchant.  Based on interviews with the people of Gander, Canadian book and songwriters Irene Sankoff and David Hein (a married songwriting duo) have assembled a pop opera that simply tells the stories of the diverse characters stuck in Gander without being trite or sentimental.

There are the “come from aways” (Newfoundland slang for outsiders): Texans, Brits, a Jew, Muslims, Germans, a female American Airlines pilot (Jenn Colella), as well as the townspeople, ranging from a teacher to an animal rescue worker. The actors play many dual roles. Caesar Samayoa, for example, alternates between a gay man and a Muslim Egyptian (with cogent conviction). Other subplots include a budding romance between an older Texas woman (Sharon Wheatley) and an Englishman (Lee MacDougal), and the experiences of a neophyte TV reporter (Kendra Kassebaum).

There are jokes about Newfoundland and Canada in general (complete with Tim Hortons gags), and odd local customs like kissing a codfish (don’t ask). Amazingly, for such a short show, there is also plenty of depth here, and the people aren’t portrayed as cartoons or stereotypes

Songs like “28 Hours/Wherever We Are,” ”On the Edge” and “Me and the Sky” (Ms. Colella’s showstopper about being the first woman pilot of a commercial jet) and more jump out at us with the melodic, emotional force we used to experience in old show standards.

It is easy to see why this show went from a workshop at a small Ontario college to mountings in Seattle, La Jolla, Washington, DC, a major Toronto production and now Broadway.  Although the story is set in Canada, it pays tribute to one of the darkest periods in modern American history.

In addition to the outstanding cast, expertly directed by Christopher Ashley, there is innovative choreography by Kelly Devine, which contains bits of country and lots of Irish-style Riverdance moves. The narrative is expertly woven through nonstop movement and song.

Come From Away is unlike anything we’ve seen on Broadway, a musical that celebrates and glorifies humanity, understanding and the reasons to embrace the differences of people we don’t know, while showing how no one is really that different—without coming off hokey or contrived. This is a musical with a simplistic yet sobering message of unity for the divided, dark America of 2017, making the show relevant, topical, and fun. It’s a new type of never-before-seen, uncharted musical territory much like Hamilton was, and should also make musical-theater history.

Edited by Scott Harrah
Published March 12, 2017
Reviewed at press preview performance on March 11, 2017

‘COME FROM AWAY’: The cast. Photo: Matthew Murphy

‘COME FROM AWAY’: Kendra Kassebaum. Photo: Matthew Murphy

‘COME FROM AWAY’: Jenn Colella & cast. Photo: Matthew Murphy

Clip from Come From Away, ‘Heave Away’

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