Oh, What A Night – of contrasts! This show delights with the timeless charm of Frankie Valli’s greatest hits, carried by a talented cast whose performances bring energy and heart to the stage—even when the production itself doesn’t quite reach the same heights.
Ah, summer theatre in Ontario. There’s something special about stepping away from the big-name stages like the Shaw and Stratford Festivals and heading a few hours east outside of Toronto to see what the smaller companies are up to. Sure, the budgets are tighter and the stages more modest, but that doesn’t mean the shows are any less ambitious.
The Village Playhouse in Bancroft, Ontario, was one venue I checked out and their take on the now iconic musical, Jersey Boys. Of course, this is the international Tony and Grammy Award-winning musical phenomenon that recounts the compelling rags-to-riches story of a group of troubled, blue-collar boys from New Jersey who rose to become Frankie Valli and the Four Seasons, one of the most successful bands in music history. With each member offering his perspective, this smash-hit jukebox musical blends timeless themes with unforgettable songs and audience favourites such as “Who Loves You,” “Sherry,” “Big Girls Don’t Cry,” “Can’t Take My Eyes Off You,” and “December 1963 (Oh, What a Night).”
Fortunately, the talent and commitment of the 11-member cast elevate what might otherwise be a rather unremarkable production. Vocally, they rise to the challenge—no small feat given the demanding score. Characters are compelling, and scenes are thoroughly believable. There’s a lot to like here!
The stage at the Village Playhouse is notably small — and one assumes the backstage area is just as limited — but director and choreographer Julie Tomaino manages to make effective use of the space in certain respects. In addition to drawing out solid performances from her principal cast, she allows several ensemble members to stand out for their versatility in portraying multiple characters. But it’s the cramped set and evident budget constraints that frequently undermine the overall narrative and visual cohesion of this production.
A bridge-like structure spans the width of the stage, but its low clearance has taller cast members narrowly avoiding bumping into the overhead light fixtures. Two small window-like openings on the back brick wall serve as projection surfaces. Still, they are largely ineffective — too diminutive to be seen clearly and mostly obstructed by the bridge itself. A large metal staircase on wheels is cleverly used to provide access to the upper level in several scenes, but it is too large for the small stage. Depending on its placement, it blocks necessary props, disrupts sightlines, is awkward to move and even poses a tripping hazard to some performers.
Furnishings also leave much to be desired. Mismatched chairs and worn tables — some in need of paint and repair — look like they were acquired from a local yard sale. Props appear similarly improvised, with empty wine bottles, battered suitcases, crudely made wooden cameras, unlit candles, and fake cigarettes that emit no smoke. I understand budget limitations, but more thoughtful substitutions (such as inexpensive battery-operated candles and herbal cigarettes) could have maintained the illusion without compromising realism.
Jocelyn Perry’s costumes and wigs suffer from a lack of consistency and attention to detail. The men’s clothing varies awkwardly between period-appropriate and modern styles; Frankie’s (Caleb Di Pompinio) sports shirts with extra-long sleeves, and Nick (Mayson Sonntag) wears slim 1960s-style trousers throughout, while others wear looser, less period-accurate slacks. The group’s signature red “performance” jackets are ill-fitted and are in desperate need of an ironing. Floppy lapels and loose hems are also visible, notably on Tommy (William Lincoln). Female costume coordination falters in the footwear department. Only Lorraine (Michelle Yu) wears socks with her character shoes, while the other women appear in mismatched styles, especially in group numbers. It would be nice to see the women in something a bit glitzier for the final number, rather than staying in their character costumes — especially as they join the boys for backup vocals in what’s meant to be a show-stopping moment. Wigs are ill-fitting and unconvincing.
Lighting designer Gareth Edwards makes the most of the limited fixtures available. His use of colour and floor coverage is especially effective, with rich tones and intensities that complement the mood and scene transitions well. Downstage spots are effective, adding punch and focus to key performances. However, the upper level suffers from some inconsistent coverage — a few moments are noticeably underlit while other moments appear too bright.
Erin Cunningham’s sharp stage management is evident from the very beginning. Actors move on and off stage, shift props, and rearrange furniture with near-military precision. Given how tight the backstage space clearly is, it’s no small feat to make those transitions look as smooth and seamless as they do — a credit to her organization and attention to detail.
Where the production finds its footing, though, is in the cast’s vocal performances. Under Joey Herbison’s musical direction, the performers demonstrate evident dedication and musical ability, offering strong renditions of crowd favourites such as “Sherry,” and “December 1963 (Oh, What a Night).” As the Four Seasons themselves, Griffin Hewitt (Bob Gaudio), Mayson Sonntag (Nick Massi), and William Lincoln (Tommy DeVito) are all excellent. Their harmonies are spot-on, they’re fully engaged in their characters’ arcs, and they make us genuinely care about who these men are and what they go through. Surprisingly, the one exception is Caleb Di Pompinio as Frankie Valli. He underplays the role, bringing low energy to many of his scenes and often falls short of the vocal power the part demands. More importantly, there’s little sense of growth in his portrayal — Frankie’s journey from teenager to older man feels flat and undeveloped.
Gabi Epstein stands out as Mary Delgado, Frankie’s first wife, as well as in several other ensemble roles. She moves effortlessly between dramatic and comedic moments, showcasing her impressive vocal ability throughout. Jeanette Vannieu and Michelle Yu also bring strong voices to the stage and handle their multiple more minor roles skillfully.
Jeremy Lapalme, Troy Adams, Mark Allan, and Liam Crober-Best also stay busy throughout the show, each competently handling multiple roles. Still, it’s Crober-Best who leaves the strongest impression, thanks to his versatility in portraying a range of distinctly different characters.
Ultimately, while this production is marked by sincere effort and moments of musical strength, it falls short of capturing the dynamic energy and polish that Jersey Boys demands. For audiences familiar with the show’s larger venue stagings, this version feels more like a well-intentioned approximation than a fully realized interpretation. Still, the cast’s commitment and vocal talent provide a silver lining in an otherwise uneven experience.
Running time: approx. 2 hours and 20 minutes with one intermission.
Production runs until August 31 at The Village Playhouse, Bancroft 5 Hastings Street South, Bancroft. For tickets, call the Box Office at 613-478-6060 or info@tweedandcompany.com
The Village Playhouse, Bancroft Presents
Jersey Boys by Marshall Brickman & Rick Elise
Directed and choreographed by Julie Tomaino
Musical direction by Joey Herbison
Costumes designed by Jocelyn Perry
Lighting designed by Gareth Edwards
Stage managed by Erin Cunningham
Performers: Caleb Di Pompinio, William Lincoln, Griffin Hewitt, Mayson Sonntag, Gabi Epstein, Michelle Yu, Jeanette Vannieu, Jeremy Lapalme, Troy Adams, Mark Allan, Liam Crober-Best
