Just in Time

A few minutes after performing the dynamic opening medley that kicks off the biomusical “Just in Time,” Jeremy Jordan works his way onto the floor of Circle in the Square and announces: “I’ll be your Bobby Darin tonight.” Huh?

As we’ll soon discover, it was very smart of whoever — whether it be original star (and co-conceiver) Jonathan Groff, director and developer Alex Timbers or book writers Warren Leight and Isaac Oliver — to structure this bio-musical of Darin so that the talented actor-singer could be played by a variety of performers, each of whom can bring his own strengths to the central role.

And right now, audiences could not be in better hands than Jordan’s (the fourth actor to play the part), who gives us 10,000 percent of his stellar vocal ability, extraordinary dancing skills (who cares if it’s been 20 years since “Newsies?), unflagging energy, effortless charisma, and superb acting talent to bring the story of the brilliant if troubled Darin to vibrant life.

In Jordan’s ultra-capable hands, we never doubt Darin’s commitment to his craft – and especially his live audiences – which is doubly impressive since he was told by a doctor that he would die by age 16. We therefore sympathize even more with Darin’s struggle and drive to find a musical style that suited him before his time ran out. (He eventually died at age 37, something audiences are told almost immediately.)

Indeed, even while working with partner Don Kirschner (an engaging Caesar Samayoa) — with whom he penned a successful furniture store jingle — Darin fails to break through, even when recording with future superstar (and short-term girlfriend) Connie Francis (a thoroughly winning, strong-voiced Olivia Holt) or while trying to sound exactly like Elvis Presley or Fats Domino.

The spell is eventually broken by creation of Darin’s breakthrough novelty hit “Splish, Splash” (inventively staged here by Timbers) — a result of an offhand comment by famed NYC DJ Murray the K (a very fine Lance Roberts, also playing many parts including Atlantic Records founder Ahmet Ertegun) – but Darin is anything but satisfied.

Luckily, before the show’s conclusion, we hear a fierce “Mack the Knife” a riveting take on the standard “Once in a Lifetime,” and most of Darin’s other signature tunes – including “Beyond the Sea,” “Dream Lover,” “18 Yellow Roses,” and “If I Were a Carpenter” — all of which are delivered with maximum effectiveness.

We also get our fair share of personal drama, including Darin’s complicated relationships with his larger-than-life mother Polly Walden (a superb Debbie Gravitte), a former vaudevillian; his overprotective older sister Nina (an excellent Emily Bergl) and her husband Charlie (a very fine Joe Barbara).

Further, much of the second act explores, with great honesty, Darin’s impulsive, eventually troubled marriage to his film co-star Sandra Dee (a perfectly cast Carrie St. Louis), who – like Darin — was too naïve to fully grasp how their union would evolve and then dissolve.

Visually, the show is sumptuous, thanks in large part to Timbers’ many collaborators including set designer Derek McLane (who creates a stunning nightclub and makes remarkable use of Circle’s three-quarter space) and costume designer Catherine Zuber, who proves once again that no one working on Broadway has a better grasp on how people (especially women) dressed in the 1950s and 1960s.

That fact is made fully evident by the many outfits she created for Darin’s back-up singers, the Sirens (the gorgeous Christine Cornish, Julia Grondin, and Jessica Mallare White), who execute Shannon Lewis’ delicious choreography with flair and expertise.

On my original viewing of the show last year, I honestly couldn’t picture anyone else playing Darin, but Jordan has arrived just in time to prove me wrong –- and give this highly entertaining show a continued, well-deserved life.
By Brian Scott Lipton