Annapolis Summer Garden Theatre’s production of Beautiful: The Carole King Story is a charming tribute to the talented, prolific songwriter and singer. With a book by Douglas McGrath and words and music by Gerry Goffin, Carole King, Barry Mann, and Cynthia Weil, the musical uses the songs King and her friends wrote to follow her career and life, from a bright, insecure 16-year-old eager to sell her first song to a Grammy Award-winning Carnegie Hall performer. Directed by Mark Briner, with music direction by Kate Piazza and choreography by Becca Vourvoulas, it blends humor, pathos, and passion.
Ashley Zielinski Rudy brings joyfulness to Carole King, from writing songs to spending time with her husband Gerry (Nathanael Quay). Playing Mozart as well as rock and roll, she shines at the piano. Her first song she ever sold, “It Might as Well Rain Until September,” is breezy fun, while “Will You Love Me Tomorrow” is tender and sweet. Rudy fills her later songs, like “It’s Too Late,” “You’ve Got a Friend,” “(You Make Me Feel Like) A Natural Woman,” and “Beautiful,” that King performed herself, with passion and feeling. Her moments of despair are also powerful: she desperately sings “One Fine Day” after a devastating revelation, and her voice catches on “Will You Love Me Tomorrow” after another harsh discovery.
Nathanael Quay gives depth to Gerry Goffin, Carole’s husband and writing partner. Initially dismissive, he shares his writing and flirts with her. Ambitious and restless, he bristles at suburban life, even as he sings of its joys in “Pleasant Valley Sunday.” Continually pushing for new sound and new experiences, he collapses in tears at his inability to write. “Up on the Roof” reveals his childhood traumas, while “Take Good Care of My Baby” is full of tender joy.
Erica Miller plays songwriter Cynthia Weil with excellent comic timing and always delivers perfect one-liners. Introducing herself, she turns “Happy Days Are Here Again” into a comic advertisement for her writing chops. Chris Rudy plays Barry Mann, Cynthia’s writing partner, as an oversexed hypochondriac who cancels several dates and gets Cynthia to stay late at work. Initially dismissive of “You’ve Lost That Lovin’ Feeling,” he sings it comically in a too-high key. Watching their relationship develop is lovely, as they slowly recognize their feelings. And the friendly competition between Cynthia and Barry and Carole and Gerry is fun to watch.
Adam Conklin plays Don Kirshner, who finds singers for his writers’ works, with a comically blunt business sense. Knowing what types of songs sell well and which performers are best for what songs, he plays the teams against each other. Still, he is supportive and caring of Carole. Selene Athas brings a comic touch to Genie, Carole’s mother. Fearful of her daughter’s writing ambitions, she unfavorably compares Times Square to Hell. Later, she tells people she always encouraged Carole.
Will Griffin, B.J. Robertson, and Michael C. Smith play The Drifters with energy, filling “Some Kind of Wonderful,” “Up on the Roof,” and “On Broadway” with love and excitement. Natasha Alston, Aryana Briner, Michelle Bruno, and Cheyenne Jones-Arnwine play The Shirelles with elegance. At first reluctant about “Will You Love Me Tomorrow,” as it initially sounds “country,” they sing it with passion. As singer Janelle Woods, Bruno is quietly powerful, singing “One Fine Day” with joy. As Little Eva, Briner is full of energy, dancing around the stage in “The Locomotion.”
As the Ensemble, Kasey Colligan, Hope Gilbert, Carter Grimes, Jeremy Limansky, Alex Miletich IV, Vincent Schiavone, and Vanessa Van Note fill out various roles. In “1650 Broadway Medley” they sing a selection of 1950s hits, and “Be-Bop-a-Lula” is gloriously silly. Colligan plays secretary Lucille with heavy sarcasm, while Carter Grimes plays guitarist Nick as enamoured of Carole, gently encouraging her to play with his band. Miletich and Schiavone play The Righteous Brothers, singing “You’ve Lost That Loving Feeling” with deep sadness, while Gilbert plays singer Marilyn Wald as relaxed and easy-going, beginning “Pleasant Valley Sunday,” and Van Note plays Carole’s childhood friend Betty as eagerly supportive of her dreams. Limansky plays Neil Sedaka with high energy, singing “Oh Carole” with joy, inspired by Carole.
Set designer Dudley Witney creates a colorful set, with yellow walls on either side of the stage covered in gold records, flipping over for office and home scenes. The musicians are in the center, behind multiple arches. The rooftop has a scenic view of New York City. Props designer Sally Lockley brings in several pianos and musical instruments, as well as a loveseat and TV. Costume designer Lisa Chadwick has clothes that reflect each period, from conservative jackets, pants, and dresses in the ’50s to more colorful, loose outfits in the ’60s and ’70s, though Carole always wears skirts and long tops, and The Drifters wear different colored sparkly jackets for each of their numbers.
Lighting designer Aaron S. Adams uses a variety of different colors, some overhead, others from the wall of records on the sides, glowing in different shades. Sound designer Sam Markowitz ensures the performers can be heard, while music director Kate Piazza generally balances the music with the singing, though in one song the music hides the singer.
Conductor Billy Georg leads the other musicians (Jarrett Rettman, Trent Goldsmith, Jeff Eckert, Mari Hill, Jamie Kim, Len Morse, Connor McCracken, and John Hobson) in strong renditions of the music. Choreographer Becca Vourvoulas creates simple, fun dances, especially “The Locomotion.” Director Mark Briner keeps the performers moving in between songs, while letting the songs speak for themselves. The performers hit every comic and emotional moment spot on, giving every song energy and feeling. Everything comes together to showcase a remarkable talent. The popular show is selling out; if tickets are available, do go see it.
Running Time: Approximately two hours and 30 minutes, including one 15-minute intermission.
Beautiful: The Carole King Story plays through July 25, 2026, at Annapolis Summer Garden Theatre, 143 Compromise Street, Annapolis, MD. For tickets ($30), call the box office at 410-268-9212 or purchase online.
