'Beautiful' Brings Carole King’s Music Songbook to Life at the Alhambra

Beautiful: The Carole King Musical at the Alhambra Theatre & Dining charts the rise of one of pop music’s most influential artists, from her early years as a teenage songwriter in 1950s Brooklyn to her triumphant debut as a solo singer-songwriter in the 1970s. Along the way, the story follows her collaborations with lyricist and husband Gerry Goffin as well as friendly rivals Cynthia Weil and Barry Mann. The show is a jukebox musical, but with enough narrative depth to give the music emotional weight — each song arriving at just the right moment in Carole’s life.

Rachel Ann Kocher eases into the role of Carole King with such lived-in charm that it’s easy to forget she’s acting. Her voice is sweet and earthy, and in songs like So Far Away and Will You Still Love Me Tomorrow she radiates warmth, vulnerability and grit. Her performance hits a high point in One Fine Day — raw, guttural and aching — and again in It’s Too Late, a time-traveling moment that briefly suspends the audience in the early ’70s.

Ethan Davenport plays Gerry with charm and smooth vocals, but it’s his breakdown scene that truly shines — heartbreaking, erratic and beautifully performed. Matthew Fecko gives Barry a dopey sweetness without dulling his edge. Logen Cheatham is an energetic Cynthia, lighting up the stage with every line. Together, Cynthia and Barry’s bickering chemistry and pop brilliance give the show a buoyant, screwball rhythm. Michael Roddy is perfectly understated as Donny Kirshner, effortlessly grounding the chaotic world of songwriting with dry humor and cool authority.

Musical director Cathy Murphy Giddens and choreographer Erick Ariel Sureda face the difficult task of maintaining energy across decades of styles. While the solos and duets often soar, unfortunately, the ensemble work lacks the cohesion typically expected from a vocal group under Giddens’ direction. The Shirelles and the Drifters lack the gravitas, confidence and stage presence of the legends that they’re meant to evoke, and they even occasionally struggle with pitch and balance.

Similarly, the choreography — though smartly conceived — often lacks the crisp execution needed to match the music’s pulse, feeling sluggish and out of sync. At times, dancers can even be seen glancing at one another mid-routine, clearly unsure of the next move — a moment that might pass in a high school production but feels jarring from a professional company like the Alhambra.

Still, there are highlights aplenty. On Broadway is a showstopper — vocally precise, visually electric. You’ve Lost That Lovin’ Feelin’ is a standout, with Nathan Roberts and Mason Ebert nailing both tone and presence of the Righteous Brothers. The Locomotion brings a clever, energetic costume change that’s both joyful and surprising. And when the audience starts softly singing along with the intros of Up on the Roof, Will You Still Love Me Tomorrow and You’ve Got a Friend it becomes clear this music isn’t just nostalgic — it’s foundational.

Taylor Barnett’s dynamic and beautiful costuming subtly narrates the story with intention and nuance. Carole’s journey is stitched into every outfit, from early cardigans as a self-conscious teenager to her standout look — a striking peacock-print dress — that beautifully reflects her growing sense of identity and creative strength. The wardrobe tracks time, tone and growth with clarity — it never gets in the way, but it always adds something. The ensemble’s wardrobe changes also help mark the passage of time and shifting musical eras without ever feeling heavy-handed.

But some production elements distract more than they support. The onstage microphones are especially frustrating. They’re never treated as if they’re real — just lifeless props the actors ignore — and it breaks the illusion every time. Actual sound issues don’t help, with muddy mixes during the Shirelles’ and Drifters’ songs dulling performances that should land harder. And then there’s Nick’s wig — it’s distractingly terrible. It’s so clearly a woman’s wig that it derails the character completely. A cheap Spirit Halloween version would be an upgrade.

But despite its rough edges, the show is a love letter to music — and to the woman behind some of the most iconic songs of the 20th century. There’s an undeniable emotional current running through the performance, one that’s fueled by a deep affection for Carole King’s music and legacy. And at the center of it all, Kocher grounds the production with grace, vulnerability and just enough awkward charm to make the story feel lived-in and true. It may not be perfect, but Beautiful finds its voice in the places that matter most.

Beautiful: The Carole King Musical runs Thursday, April 3 through Sunday, May 11 at the Alhambra Theatre.

For more information, full cast and crew credits and links to tickets, visit the Beautiful: The Carole King Musical page here on JaxPlays.