Sinatra The Musical is a genuinely engaging evening, offering a grounded look into the choppy life, media storms, and ultimate comeback of the man behind the voice.
Joe DiPietro’s book avoids turning the show into a straightforward tribute act, choosing instead to focus on the political ties, press intrusion, and heavy drinking that shadow his career while weaving his classic tracks directly into the plot.
The show opens on a high note, recreating his famous Paramount Theatre gig. Having actors run down the aisles playing frantic fans sets a lively tone straight away and pulls you into the period. Peter McKintosh’s set and lighting work smoothly to shift us through different worlds, moving quickly between dark bars, recording studios, Hollywood stages, and Sinatra's home.
For anyone who knows the songs but not much about Sinatra's actual life going in, the narrative feels fresh and genuinely interesting. The script does not try to polish over his faults, spending plenty of time on his high-profile affair with Ava Gardner and the breakdown of his marriage to his first wife, Nancy. A bit more focus on how he actually develops his musical style or his studio process would be a nice touch, but focusing on his personal life still keeps the story moving well. The first half tracks his rapid success and messy fall under press scrutiny, setting up a second half about him fighting to rebuild his career.
The cast handle the material well across the board. While Joel Harper-Jackson usually plays Frank, Sam Brown steps into the role for the gala while Harper-Jackson recovers from a calf injury. Brown does a solid job with it, bringing a strong, warm voice that fits the songs easily and enough natural charm to hold the stage. Ana Villafañe brings plenty of fire to Ava Gardner, matching him well in their louder moments, while Phoebe Panaretos gives a sympathetic, grounded performance as Nancy.
Kathleen Marshall’s direction keeps the pace moving nicely, using numbers like "That's Life", "One For My Baby", and "I've Got the World on a String" to drive the story rather than just pause for applause. It makes for an entertaining, well-crafted night out that gives a clear picture of the man behind the music.
It runs until 10 April. Tickets: here.
Photo: Brinkhoff/Moegenburg