Based on the true story of songwriter-turned-singer Carole King, “Beautiful- The Carole King Musical” tells the story of King’s early career as a hit songwriter with seemingly perfect husband Gerry Goffin (James D. Gish). However, it isn’t until her life and marriage begin to fall apart that she finds her own voice and rises to stardom with her breakout album “Tapestry.” The musical features over two dozen hit songs from King and Goffin and songwriting team Cynthia Weil (Sara King) and Barry Mann (Ryan Farnsworth).

Starring in the titular role, Sara Sheperd is dynamic in director Marc Bruni’s rendition of this Broadway favorite. From the moment she opens her mouth during her opening number “So Far Away,” Sheperd’s rich voice and Douglas Mcgrath’s snappy book are a winning combination. Add in the hunky, leather jacket-wearing Gish, and you’ve got instant entertainment.

The rest of Act I flies by in a series of musical numbers that showcase the songwriting talent of King and Goffin as they work alongside Weil and Mann. Sara King and Mann are the perfect comedic pairing as King’s firecracker enthusiasm stands as a seamless contrast to Sheperd’s more reserved energy. However, it is Sheperd’s rendition of “Will You Love Me Tomorrow” that stands above the rest. While still maintaining the integrity and power of the original song, she manages to put a theatrical spin on the popular song with a light and delicate touch.

As the songwriting duos churn out hit after hit, including favorites like “Some Kind of Wonderful” and “You’ve Lost That Loving Feeling,” for music producer/manager Don Kirshner (Matt Loehr) and the musical acts he represents, The Drifters and The Shirelles bring them to life on the stage.

Now, I know it’s the Carole King Musical, but I would pay to see an entire performance comprised only of The Drifters (Iasiah Bailey, Edwin Bates, Torrey Linder, and Nurney at this performance) and The Shirelles (Rosharra Francis, Jamary A. Gil, Danielle Herbert, and Sarah Sigman). As they glide across the stage (thanks to brilliant choreography from Josh Prince) in gorgeous, sparkly dresses and slick, shimmery suits from costume designer Alejo Vietti, they create dreamy harmonies that could, and should, be a production on their own. Francis particularly shines as Janelle Woods in the Act I finale, “One Fine Day,” matching her standout voice with the complimenting harmonies of the female ensemble behind her.

However, it is not until Act II that we get to hear more from Gish and Farnsworth. And let me tell you, it is worth the wait. Farnsworth finally gets his moment to shine in his rock number “We Gotta Get Out of This Place.” It is here that Mann’s hypochondriac ways slip away and a charismatic rockstar energy takes their place.

It is, however, worth noting that Act II is significantly less jaunty than the first. As opposed to the snappy, colorful energy of the first half of the show, Act II is filled with more emotion and heavier topics, moving at a slower pace than its more upbeat counterpart.

The production runs two hours and thirty minutes including intermission and will run at the John F. Kennedy Center for the Performing Arts through January 2, 2022. Tickets can be purchased here.

Recommended for ages 11 and up.

All photo credit to Joan Marcus.