‘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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‘MERRILY WE ROLL ALONG’: (left to right) Daniel Radcliffe, Jonathan Groff & Lindsay Mendez. Photo: Matthew Murphy.

MERRILY WE ROLL ALONG
Music and lyrics by Stephen Sondheim
Book by George Furth
Directed by Maria Friedman
Hudson Theatre
141 West 44th Street
www.MerrilyonBroadway.com

By David NouNou

It is easy to see why Merrily We Roll Along was savaged by critics and bombed when it opened on November 16, 1981. It used up its advance sales on 44 previews and lasted only 16 performances. It was to be a Stephen Sondheim vehicle with a no-name cast; “just Sondheim” as its selling point. This was before he was a deity. It failed on so many levels.

It lacked the grandiosity of his 1979 Sweeney Todd, or the majesty of 1976’s Pacific Overtures, or the beauty of 1973’s A Little Night Music, or the extravaganza of 1971’s Follies or the brilliance of 1970’s Company. Merrily We Roll Along was a dreary musical about three friends examining their lives in 1978 and going backwards in time to 1957 when they first met in their prime. It lacked any sets; the costumes were made up of jeans, khakis and T-Shirts with the character’s names on it. I guess because the cast was so lackluster, it was the only way the audience could identify them. Its failure was also due to the feeling of detachment from the musical itself and its characters. In 1981, audiences wanted to feel empathy for their characters and Merrily just didn’t give them that. Another blow came in the form of Michael Bennett’s explosive razzle-dazzle Dreamgirls, loosely based on the formation of the musical group Diana Ross and the Supremes. There was plenty of attachment and empathy there. The choice was simple: It came down to dreary or razzle-dazzle.

Merrily has developed a cult following over the years. With songs like the bouncy “Old Friends,”  and the haunting “Not a Day Goes By,” the musical started picking up steam. Fast forward to 2023: Sondheim is a deity now. You’ve got three leads that are big names, full of charm, charisma and audience visibility/connection. It’s a fully mounted production with a multi-functional set and costumes galore. The detachment that failed in 1981 works wonderfully for the age we live in now. However, it is Maria Friedman’s visionary direction that has reshaped a dreary musical into a full-blown, knockout production.

Having Daniel Radcliffe (Charley Kringas), Jonathan Groff (Franklin Shepard) and Lindsay Mendez (Mary Flynn) has given this musical a luster that it desperately needed. It is 1976 in Franklin Shepard’s Bel-Air mansion with all the phonies and sycophants surrounding him and extolling him. He is a producer now; he has left his roots of composing music for the glamour of Hollywood and all its pretentiousness. He is on his second marriage to theatrical actress, Gussie Carnegie (Krystal Joy Brown). She divorced Broadway producer, Joe Josephson (Jeremy Kushner), who produced Franklin and Charlie’s first musical hit, Musical Husbands.

Also at the party is a second member of the original trio, Mary Flynn, who has always been in love with Franklin but he has always been blind to it. She has written a bestseller and has now become a critic. Also, she loves her liquor. She is the mirror that Franklin has to look into to see what he has turned into; not the brilliant composer he always wanted to be. He is a success as a moneymaker, but a total failure as a man, a friend, a husband, and a father.

Moving backwards in time to 1973 at NBC Studios in Manhattan, Charley Kringas is awaiting the arrival of his composing partner and friend Franklin for an interview, but instead Franklin is late due to another venture of moneymaking. They are asked what it is like to be working together, and Charlie interrupts by “if I may…” and sings “Franklin Shepard, Inc.,” the showstopping number of the show, which incidentally sounds much like the style and tempo of “I’m Not Getting Married Today” from Sondheim’s Company.

Going further back to 1967, a courthouse where Beth Shepard (Katie Rose Clarke) is divorcing Frank and he asks her if she still loves him, and she sings the heart-wrenching “Not A Day Goes By.” End of Act I.

Act II is the weaker of the two. It starts in 1964 with Franklin and Charley’s first huge success, and keeps moving backward to 1960 when they formed their first revue at a downtown club in New York City where Beth auditions for them and Frank ends up proposing to her, until it’s finally 1957 on an NYC rooftop where the trio (Franklin, Charley and Mary) first meet, and sing about their bright future which is ahead of them in the song “Our Time.”

The musical was problematic from the onset. It had a difficult book to navigate through and the characters were most unlikable in its original formation—a no-no in musical comedy. However, over the years the book has been revised a few times, and there is no overlooking Daniel Radcliffe, Jonathan Groff and Lindsay Mendez. They are the oomph this show so desperately needs. Their charisma and charm make you overlook a lot of their character flaws and that’s perfectly okay, because everyone is flawed in some form or another. They work in harmonious sync. They complement each other’s performances. This is a tremendous asset to this complicated show. They smooth out the wrinkles and give it an easy flow.

In addition to Maria Friedman’s excellent direction, there is the sublime live orchestra—not pre-recorded tracks that are used in so many musicals today to cut costs—conducted by Joel Fram, and the divine orchestrations by Jonathan Tunick carry this musical into melody heaven. This is how you take a flop, reimagine it, cast it with a splendid trio, and turn it into an incredible memorable revival.

Edited by Scott Harrah
Published October 23, 2023
Reviewed at October 22, 2023 press performance.

‘MERRILY WE ROLL ALONG’: Katie Rose Clarke & Jonathan Groff. Photo: Matthew Murphy.

‘MERRILY WE ROLL ALONG’: (left to right) Reg Rogers, Katie Rose Clarke, Jonathan Groff, Daniel Radcliffe & Lindsay Mendez. Photo: Matthew Murphy.

‘MERRILY WE ROLL ALONG’: The cast. Photo: Matthew Murphy.

‘MERRILY WE ROLL ALONG’: Krystal Joy Brown & Jonathan Groff. Photo: Matthew Murphy.

‘MERRILY WE ROLL ALONG’: (left to right) Daniel Radcliffe, Jonathan Groff, Reg Rogers
& Krystal Joy Brown. Photo: Matthew Murphy.

‘MERRILY WE ROLL ALONG’: (left to right) Krystal Joy Brown, Reg Rogers, Natalie Wachen & cast. Photo: Matthew Murphy.

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THE SHOW HEARD ROUND THE WORLD: Daveed Diggs (center) as Thomas Jefferson & ensemble in the revolutionary blockbuster musical ‘Hamilton’. Photo: Joan Marcus

HAMILTON
Music, book & lyrics by Lin-Manuel Miranda
Choreography by Andy Blankenbuehler
Inspired by the biography Alexander Hamilton by Ron Chernow
Directed by Thomas Kail
Richard Rodgers Theatre
226 West 46th Street
(877-250-2929), http://www.hamiltonbroadway.com/

By Scott Harrah

Once or twice in a decade, a Broadway show comes along that is so innovative and unprecedented that it changes the American musical theater as we know it. In the 1990s, it was Rent. Nearly five years ago, it was the irreverent The Book of Mormon. In 2015, the game-changing musical is, without question, the blockbuster Hamilton, which recently transferred to Broadway after a sold-out run downtown at the Public Theater.

Indeed, Alexander Hamilton is mostly known to Americans for being on the $10 bill because he was one of the founding fathers of the United States. Unless one is an American history buff, we forget that Hamilton was chief state aide to George Washington, advocate of the U.S. Constitution, founder of the U.S. financial system, the first Secretary of the Treasury, and founder of the world’s first voter-based political system, the Federalist Party, and more. Most know the stories of the other founding fathers of our nation, but not Hamilton, and the true genius of this show is how music, lyric and book writer Lin-Manuel Miranda used Ron Chernow’s biography of Hamilton as the basis for the story and created a theatrical masterpiece. Mr. Miranda has taken what’s normally considered a dry subject, early American history, and turned it into an entertaining epic that appeals to the masses of all ages. Yes, the chronology of events in the American Revolutionary War are all here, but Mr. Miranda adds depth and complexity to everyone from George Washington (Christopher Jackson) to Aaron Burr (Leslie Odom, Jr.) and Thomas Jefferson (Daveed Diggs). There hasn’t been a Broadway musical with this much youthful magnetism and solid storytelling in many moons.

Hype has surrounded this show ever since it debuted at the Public this past winter. Hamilton has been the hottest ticket in town and one has not been able to go online or open a newspaper or magazine without reading some blurb singing its praises in the past six months. The hoopla is all justified, because from the two opening numbers, “Alexander Hamilton” (an expository song that sums up the man’s early life) and “My Shot” in Act I, Hamilton at first seems more like a seamless, energetic pop music concert than a Broadway musical, but in essence there is really nothing gimmicky going on at all. Yes, there are hip-hop and pop-style songs, but also many beautiful ballads and more traditional show tunes, all of which propel the story forward exquisitely. Mr. Miranda has also created an intricate historical epic that unfolds with rapid-fire energy and never lets up. It is completely unlike any of Mr. Miranda’s previous efforts, namely In the Heights, which won the Tony Award for Best Musical in 2008.

We learn all the biographical details about Alexander Hamilton, the illegitimate son of a Scotsman and a prostitute born in the Caribbean, to his journey to America and how he helped the other founding fathers create the new USA after the Revolutionary War, but we also learn about Hamilton’s clashes with the third Vice President of the United States, Aaron Burr (Mr. Odom, Jr.), in the show-stopping song “The Room Where It Happens,” a number so infectious that it could easily be released as a pop song on the radio. The same holds true for George Washington’s ballad “One Last Time.” As Hamilton, Mr. Miranda’s performance is consistently solid, sincere and convincing, even if he’s not always the most dynamic performer on the stage.

Stage and TV star Jonathan Groff is a true scene-stealer as Mad King George III, America’s last monarch. Taking over the role originated Off Broadway at the Public by Brian d’Arcy James, Mr. Groff, clad in his huge regal crown and full king regalia, holding an imperial scepter, portrays the king as a petulant buffoon, seeing the revolting colonists as naughty, wayward children as he belts out such songs as “You’ll Be Back” with amusing, snarky aplomb.

The women in Hamilton’s life are just as influential, showing how they, too, made a difference in the early days of our nation. Renee Elise Goldsberry, as Angelica Schuyler, the sister of Hamilton’s wife, is especially moving whenever she sings “Satisfied” in her soaring voice. Phillipa Soo is equally outstanding as Eliza, Hamilton’s wife, a woman who petitioned Congress to publish her husband’s writings. Whenever Ms. Goldsberry and Ms. Soo sing, they bring down the proverbial house. Ms. Soo is absolutely haunting when singing “Burn,” a ballad about the pain of being Hamilton’s long-suffering wife.

Director Thomas Kail keeps the story moving along with fluid precision and at an exhausting, nonstop pace at all times. Andy Blankenbuehler’s choreography is graceful and marvelously stylized; the fusion of direction and choreography complement each other in the frenetic goings-on in this nearly three-hour, monumental show. Hamilton has truly started a Broadway revolution and will continue to influence the American musical theater for years to come.

GEORGE WASHINGTON: Christopher Jackson & ensemble in ‘Hamilton.’ Photo: Joan Marcus

GREAT WOMEN OF THE NEW AMERICAN NATION: Phillipa Soo, Renee Elise Goldberry & Jasmine Cephas Jones in ‘Hamilton.’ Photo: Joan Marcus

MAD KING GEORGE III: Jonathan Groff as America’s last monarch. Photo: Joan Marcus

AARON BURR: Leslie Odom, Jr. in ‘Hamilton.’ Photo: Joan Marcus

ELIZA & ALEXANDER HAMILTON: Phillipa Soo & Lin-Manuel Miranda. Photo: Joan Marcus

THOMAS JEFFERSON: Daveed Diggs in ‘Hamilton.’

AARON BURR & CO: Leslie Odom, Jr. & ensemble in ‘Hamilton.’ Photo: Joan Marcus

THE ‘RENT’ & ‘BOOK OF MORMON’ OF THE NEW MILLENNIUM TEENS: The cast of the monster hit ‘Hamilton.’ Photo: Joan Marcus

Video montage from Hamilton

Edited by Scott Harrah
Published August 15, 2015
Reviewed at press performance on August 13, 2015

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