Nightclub singer Joey Evans has seen quite a few revisions to his character since John O’Hara first penned his short stories for The New Yorker in the late 1930s. But in Richard LaGravenese and Daniel “Koa” Beaty’s brand-new adaptation, the character of Joey undergoes a complete transformation. Played by Tony-nominated actor Ephraim Sykes (Ain’t Too Proud), Joey is a Black jazz singer refusing to compromise on his craft and struggling to make it big his way, with his sound.
Directed by tap icon Savion Glover and Tony Goldwyn, with bold dance stagings by Glover that capture the real beat of Chicago jazz, this Rodgers and Hart classic features songs like “Bewitched, Bothered and Bewildered” and newly incorporated gems like “The Lady is a Tramp” that shine with sexy wit and powerful new subtext. Revered, revised, and now re-envisioned for a new era, Pal Joey proves it has more to tell us about love, lust, and the music behind it all.
Still, the story line remains more or less on track so far. It’s in bumping a hitherto peripheral character – the nondescript, nonsinging, nondancing club manager – to the fore that the rewriters simultaneously triumph and overstep. As the updated counterpart, de facto den mother Lucille Wallace, Loretta Devine (who achieved stardom with Dreamgirls) is assigned a number of songs that challenge her current vocal capabiity. Text-wise, she’s fantastic, “Lu” having been assigned all the wittier, more insightful lines. As for her side-plot romance with Vera’s fixer, Tony? Conveying not the slightest trace of thuggish menace (would that be un-PC?), Jeb Brown plays the gangster like a benign Park Avenue toff who thinks that he’s the main story.
Sykes, to his credit, doesn’t ask for our sympathy the way his dialogue begs for it. In a normal “Pal Joey,” he would be a great Joey. He exudes confidence without ever pushing it, and especially affecting is the understated way he unveils a song like “I Could Write a Book.” He leaves the over-emotive deliveries to his two leading ladies. Tony Goldwyn and Savion Glover direct, and Glover also choreographs. Tap-dancing spirits (called “griots” in the credits) follow Sykes around the stage. They don’t provide segues between scenes so much as they remind us that several elements of this production, including these dancers, have absolutely nothing to do with what Rodgers and Hart — not to mention O’Hara — wrote.
1940 | Broadway |
Original Broadway Production Broadway |
1952 | Broadway |
Broadway Revival Broadway |
1954 | West End |
London Production West End |
1959 | Milburn, NJ (Regional) |
Paper Mill Production Milburn, NJ (Regional) |
1961 | Off-Broadway |
City Center Revival Off-Broadway |
1963 | Broadway |
City Center Revival Broadway |
1976 | Broadway |
Broadway Revival Broadway |
1980 | Regional (US) |
Regional Revival Regional (US) |
1980 | London Fringe |
London Revival London Fringe |
1995 | Off-Broadway |
Encores! Concert Off-Broadway |
2002 | Regional (US) |
Regional Revival Regional (US) |
2008 | Broadway |
Roundabout Revival Broadway |
2023 | Off-Broadway |
Encores! Concert Revival Production Off-Broadway |
2023 | Broadway |
Broadway Revival Broadway |
Videos