Singing, dancing, and nostalgia light up the Riverside Theater stage in Beautiful: The Carole King Musical, a vibrant journey through the early life and career of one of America’s most beloved songwriters. The story follows a 16-year-old Carole King growing up in Brooklyn, New York, as she chases her dream of becoming a songwriter despite her single mother’s insistence that she pursue a more stable career as a schoolteacher. This heartwarming and inspiring narrative is woven with King’s iconic music, celebrating her rise from budding songwriter to legendary solo artist.

Ashlee Waldbauer returns to the Riverside stage with a show-stealing performance as Carole King. Her rendition of “Will You Still Love Me Tomorrow” melts the audience and reminds us why King’s music continues to resonate across generations. Waldbaur, who also starred in Riverside’s spring production of They’re Playing Our Song, showcases an ability to channel the emotional depth and vulnerability that made King’s music timeless.

Another Riverside veteran, Zachary Spafford, brings powerhouse vocals to his portrayal of characters like one of the Righteous Brothers, delivering a stunning performance of “You’ve Lost That Lovin’ Feeling.” Audiences will remember Spafford from his standout role as Frankie Valli in Riverside’s acclaimed production of Jersey Boys earlier this year, and his talent for hitting those high notes remains an undeniable highlight of the show.

Adding fun and charm, Andy Braden plays record producer Don Kirshner behind the famed Brill Building in New York City, the hub of pop songwriting in the 1960s. Braden’s portrayal provides comic relief and serves as a grounding force as the show transitions through the more turbulent parts of King’s personal and professional life.

The show’s pacing is brisk, keeping audiences on their toes with seamless costume and set changes, infectious dance numbers, and a compelling portrayal of the music industry’s shift from the polished pop songs of the early ’60s to the introspective singer-songwriter era of the later part of the decade, and 1970s. As King’s career evolves, so does the soundscape of the show, with the music growing more prosperous and more personal as it mirrors her journey to stardom.

Much like Jersey Boys, Beautiful invites the audience to sing along and often leaves them marveling, “I didn’t realize they did that song!” The show celebrates King’s profound impact on popular music, from her early collaborations with husband Gerry Goffin to her solo successes.

Riverside Center Director Patrick A’Hearn said local talent makes up some of the cast, which has helped its success. Talent is talent, no matter if you’re 80 or in college or high school,” said A’Hearn. We are finding more and more quality talent in this area, and I am thrilled that we can tap into this talent.”

Aniyah Lee, who plays one of the Shirelles, is still in high school. “I’m very grateful to be where I am right now because this time last year, I was doing community theater, and now it’s a step up,” she said.

Nyarai Burrell, an understudy, said it has been eye-opening to work with so many locals and talent from all over the U.S. who have come to Fredericksburg to perform in the show. “This is my first show with Riverside, and the rehearsal process was incredible,” she said. “Being able to curate my own performance while preparing to step into any role has been a huge help.”

Beautiful: The Carole King Musical transports audiences back to the era of vinyl records, jukeboxes, and cultural revolutions, offering a musical ride that’s both exhilarating and deeply emotional. Winner of two Tony Awards, the production features a treasure trove of hit songs, including “I Feel the Earth Move,” “One Fine Day,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got a Friend,” and the title song “Beautiful.”

Ticket prices for Beautiful: The Carole King Musical at Riverside Center for the Performing Arts vary. Adult tickets are priced at $82 plus applicable taxes for those looking to enjoy dinner and the show, while seniors aged 65 and over can attend for $77. Children between 3 and 17 can enjoy dinner and show combinations for $70. For guests interested in the show alone, adult tickets are available for $65, seniors for $60, and children’s tickets for $55. Note that there is a $5 online processing fee per ticket.

The performance schedule includes Wednesday matinees, with meal service running from 11:30 a.m. to 12:45 p.m., followed by show-only arrivals at 12:45 p.m., and the performance beginning at 1:30 p.m. Thursday through Saturday evening performances offer meal service and appetizers from 5:30 p.m. to 6:45 p.m., with show-only arrivals at 6:45 p.m., and the performance starting promptly at 7:30 p.m. Sunday matinees provide meal service and appetizers from 1 p.m. to 2:15 p.m., with show-only arrivals at 2:15 p.m., and the performance beginning at 3 p.m. Please be advised that meal service for all performances ends 45 minutes before the show starts.

 

Get ready to be transported through the life and music of one of the most influential songwriters of the 20th century. Beautiful: The Carole King Musical is set to take the stage at the Riverside Center for the Performing Arts starting Wednesday, September 18, 2024, for a seven-week run.

The Tony Award-winning musical, based on a book by Douglas McGrath, tells the inspiring story of Carole King, born Carole Klein, a young Brooklyn songwriter who would go on to shape the soundtrack of a generation. Audiences will witness King’s journey from her early years penning chart-toppers for stars like The Shirelles and The Drifters to her own groundbreaking solo success with her album “Tapestry.”

The musical features a score packed with King’s greatest hits, including “I Feel the Earth Move,” “One Fine Day,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got a Friend,” and, of course, the title song, “Beautiful.” With music and lyrics by Gerry Goffin, Carole King, Barry Mann, and Cynthia Weil, as well as additional arrangements by Steve Sidwell and Jason Howland, the show is a treat for fans of classic pop and rock.

Ticket Information
Ticket prices for *Beautiful: The Carole King Musical* vary based on the performance and package:
– Adult Dinner & Show: $82 (plus applicable taxes)
– Seniors (65+) Dinner & Show: $77 (plus applicable taxes)
– Children (3-17) Dinner & Show: $70 (plus applicable taxes)
– Adult Show Only: $65
– Seniors (65+) Show Only: $60
– Children (3-17) Show Only: $55

The theater charges a $5 online processing for each ticket purchased online.

Showtimes and Dining Schedule
The Riverside Theater offers meal service before performances, providing a delightful experience for both dinner and show patrons. Food service stops 45 minutes before showtime.

Wednesday Matinees:
– 11:30 a.m. to 12:45 p.m.: Meal Service
– 12:45 p.m.: Show-Only Arrival
– 1:30 p.m.: Performance Start

Thursday-Saturday Evenings:
– 5:30 to 6:45 p.m.: Meal Service
– 6:45 p.m.: Show-Only Arrival
– 7:30 p.m.: Performance Start

Sunday Matinees:
– 1 to 2:15 p.m.: Meal Service
– 2:15 p.m.: Show-Only Arrival
– 3:00 p.m.: Performance Start

For tickets and more information, visit the Riverside Theater’s website.

Agatha Christie’s “Murder on the Orient Express” is a classic whodunit brought to life on stage. It revolves around a mysterious murder aboard a luxurious train stranded by a snowstorm.

The show at Riverside Center for the Performing Arts centers on Hercule Poirot, the famed Belgian detective, tasked with unraveling the mystery of an American tycoon found dead in his compartment. The victim was stabbed multiple times, and the door to his room was locked from the inside. With the train immobilized and no escape possible, Poirot must sift through the alibis and secrets of the eclectic group of passengers to find the killer before they strike again.

Kevin Cleary steps into the shoes of Detective Poirot, delivering a performance that aligns well with the iconic sleuth’s meticulous and observant nature. His portrayal anchors the show, guiding the audience through the intricate investigation. Andrea Kahane, as Mrs. Hubbard, adds a layer of charm and wit to the production. Her character injects humor into the otherwise tense atmosphere, making her a memorable presence on stage. Kathy Helenda’s depiction of Princess Dragonmiroff is also noteworthy, particularly in her interactions with Stephanie Wood, who plays Greta Ohlosson. The chemistry between these characters enhances the unfolding drama and keeps the audience engaged.

For those new to Agatha Christie’s works or the character of Poirot, watching earlier films such as “Death on the Nile” (1978) and “Evil Under the Sun” (1982) can serve as a helpful introduction. These adaptations, starring Peter Ustinov, offer a glimpse into Poirot’s methodical approach to solving crimes and are available on various streaming platforms. Familiarizing myself with Poirot’s style of deduction enhanced my enjoyment of the stage play.

Beyond the mystery on stage, the dinner service adds a flavorful dimension to the experience. The menu is themed to match the evening’s intrigue, with dishes like Killer Asian Pork Ribs and Poirot’s Pineapple Teriyaki Salmon setting the tone for the evening. The Yuzu cheesecake provides a refreshing end to the meal, while the aptly named “Mystery Pie” surprises with its fruit-filled goodness. The Ratchet, a cocktail blending lemon, honey, and bourbon, offers a satisfying way to unwind as the suspense builds on stage.

Presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc., and adapted for the stage by Ken Ludwig, “Murder on the Orient Express” runs from now until September 8 August 14, 2024, offering both dinner and show options. Tickets are priced in a range depending on age and whether a meal is included. Adult dinner and show tickets are $82, with discounts available for seniors and children. For those preferring the show only, adult tickets start at $65. An additional $5 online processing fee applies per ticket.

The production offers a variety of showtimes to accommodate different schedules. Wednesday matinees begin with meal service at 11:30 a.m., with the performance starting at 1 p.m. For evening shows from Thursday to Saturday, meal service runs from 5:30 p.m. to 6:45 p.m., with the performance beginning at 7:30 pm. Sunday matinees follow a similar structure, with meal service at 1 p.m. and the show at 3 p.m.

 

Uriah’s Note: Members always get the first read of our original reporting. Thanks for your continued support.

Updated July 31 — The Riverside Center for the Performing Arts held a press conference on Monday, July 29, 2024, to announce its transition from a for-profit business to a non-profit entity. Theater Director Patrick A’Hearn made the announcement, outlined the theater’s new direction, and announced upcoming changes.

“We have become one of the premier regional theaters on the Atlantic coast,” A’Hearn said. “This transition to a non-profit status lowers the burden on the people who run the theater, allowing us to apply for grants, sponsorships, personal donations, and corporate sponsorships.”

A’Hearn highlighted potential changes, including the planned introduction of new seating and a shift away from the dinner theater format in favor of a traditional theater-going experience. “If we take out those tables and we put in theater seating, you’re looking at 900 to 1,000 seats here at Riverside Center,” A’Hearn explained. He also discussed plans to establish a school for the performing arts at the center, aiming to provide training in various aspects of theater production.

A’Hearn emphasized the importance of community support and funding from local governments in Stafford County and Fredericksburg, along with corporate funding and state grants. “We need to open a dialogue and a discussion to possibly get to be aligned on those budgets,” he said, noting the support Riverside has already received from Stafford County EDA and tourism, as well as the city of Fredericksburg.

Joining A’Hearn at the press conference were actress Sally Struthers, a longtime Riverside performer whose performing at the Riverside in “Love Letters,” and Dorothy Mondak, President of the Riverside Center for the Performing Arts Board of Trustees. Struthers, who has been involved with Riverside since her performance in “Hello, Dolly!” in 2011, expressed her admiration for the theater and its staff. Mondak highlighted the need for more volunteers and community involvement to support the theater’s mission.

The transition to non-profit status was completed on January 1, 2024. “It normally takes a transition like we have accomplished three to five years. We did it in one,” A’Hearn stated. The theater plans to start new programs in the fall and into 2025, with a vision to make Riverside a regional performing arts center.

The theater’s future plans also include collaborating with local governments and businesses to enhance the cultural and economic landscape of the area. “We can bring in small Broadway national tours and even host national or regional events here,” A’Hearn said.

Dinner changes

During the press conference, Patrick A’Hearn discussed a planned transition from the dinner theater format, noting that more area restaurants would benefit from the change. He acknowledged that while some patrons appreciate the combined dining and theater experience, shifting to traditional theater seating would open new opportunities for local eateries.

A’Hearn mentioned that this transition would encourage theatergoers to explore and dine at nearby restaurants before or after performances, thus boosting the local economy. A’Hearn also addressed concerns from long-time patrons who enjoy the dinner theater experience, assuring them that there would still be options for food and beverages but in a more flexible, bistro-style format.

Patrick A’Hearn addressed the concerns of people who believe it takes too long to see a show at Riverside. He mentioned that many individuals are unaware they can purchase tickets for the show without the dinner.

“So many people didn’t even know that. So if we can be that to some people who are working, especially on a Thursday and Friday night, you know, I’d like to get to the point where we can do six or seven shows a week, not just five, but we need to make ourselves accessible to everybody,” he added.

Improved performances over the years

Over the years, Riverside Center for the Performing Arts has seen significant performance improvements, earning a reputation for quality Broadway-style shows. A notable enhancement has been the introduction of live music, elevating the theater’s productions. Actress Sally Struthers, a Riverside staple since her performance in “Hello, Dolly!” in 2011, reminisced about her early experiences at the theater. “When I first came here to do ‘Hello, Dolly!’ in 2011, we had to perform to a recorded track,” Struthers recalled. The transition to live orchestras has enriched the audience’s experience and attracted top-tier talent, further solidifying Riverside’s status as a premier regional theater.

School for Performing Arts

A’Hearn outlined a vision for a school for the performing arts at Riverside that would provide comprehensive training in various aspects of theater production. “We can have our school for the arts right here at Riverside Center,” he said. “It doesn’t have to be just a school for the arts to train in performance, which we will do, but we can also train people in anything that has to do with production.”

The school will offer programs in stage management, scenic design, lighting design, costume design, and construction, among other disciplines. A’Hearn emphasized the unique opportunities the school would provide due to Riverside’s existing facilities. “We build all our sets here right behind the theater. So if people want to train as stage managers, scenic designers, lighting designers, they can do it here.”

A’Hearn also highlighted the potential for students to learn from experienced professionals, including performers like actress Sally Struthers. “Wouldn’t it be great if some of our youth in this area get a master class from Sally Struthers?” he asked.

The establishment of the school is seen as a multifaceted approach to community engagement and workforce development. “We can train people in anything that has to do with production,” A’Hearn reiterated, pointing out that the facility’s comprehensive resources would allow for diverse training opportunities.

The initiative aims to launch programs starting in the fall and into 2025, with a longer-term goal of becoming a central hub for performing arts education in the region. “It’s always been a hope of mine, maybe in the next two to five years, to have our own school for the arts right here at Riverside Center,” A’Hearn stated.

2025 season

The theater will unveil its 2025 program at a special “Sip and Sing” event on August 7. A’hearn was tight-lipped about what performances supporters should expect next year. The “Sip and Sing” has been canceled.

In the meantime, A’hearn will appear alongside Struthers in the play Love Letters during a limited engagement through August 4, 2o24. Afterward, the theater will present “Murder on the Orient Express” from August 14 to September 8.

Children’s theater returning

A’hearn also discussed the return of children’s theater to Riverside. It will present Roald Dahl’s Willy Wonka TYA, a musical adaptation that brings the story of Charlie Bucket and his adventure in Willy Wonka’s magical chocolate factory to life. The show features a mix of songs from the classic 1971 film.

Performances will be held every Tuesday, Thursday, and Saturday except Thursday, October 24, 2024. Tickets are priced at just $20 per person, offering an affordable and theatrical family experience. Children under three years old can attend for free. Doors will open early for lunch on weekdays and a convenient 1 p.m. start time on Saturdays.

 

Riverside Center for Performing Arts showcases “Love Letters,” featuring Sally Struthers and Patrick A’Hearn, for a limited two-week engagement ending August 4, 2024.

“Love Letters” centers on the lifelong correspondence between Andrew Makepeace Ladd III and Melissa Gardner, childhood friends from affluent backgrounds. Their story unfolds through exchanges of letters and postcards, revealing their personal journeys and romantic tensions spanning decades. The play navigates their separate paths through school, careers, and tumultuous personal lives, culminating in a poignant conclusion.

Sally Struthers, celebrated for her roles on television and stage, joins the cast amidst preparing for a new Netflix series “Classic Spy.” Patrick A’Hearn, not only serves as the Producing Artistic Director but brings his Broadway experience to the stage.

Ticket pricing for the show includes dinner and show options ranging from $70 to $82, and show-only options from $55 to $65.

The Riverside Center for the Performing Arts presents “The Wizard of Oz,” a production that captures the essence of the beloved classic. The crowd responded enthusiastically, with applause reaching a peak when Toto took the stage. Sammy, a three-year-old Shih Tzu, plays him.

The immersive set brings the audience close to the action, especially those in the front row, making them feel part of the show. The design focuses on the farm scenes from the first and final acts, creating a familiar and engaging environment.

The cast performed strongly, particularly during the ensemble number “Merry Old Land of Oz.” The tap routine and energetic dancing added a lively dynamic to the show. The costumes brought a vibrant palette to the stage, and the lighting added an impressive visual dimension.

Rebecca Gayle’s Dorothy captivated the audience, especially during her rendition of “Somewhere Over the Rainbow.” Our four-year-old daughter’s face lit up with joy as Dorothy began to sing.

Jordan Stockwell made his Riverside debut as the Cowardly Lion, performing “If I Were King of the Forest” with powerful vocals that filled the theater. The song resonated strongly with the audience.

Robert John Biedermann brought depth to the character of the “The Great and Powerful Wizard of Oz.” Biedermann’s extensive experience in the role, having performed it over 600 times, was evident and appreciated by the audience.

The script includes modern references, adding a fresh twist to the 85-year-old story. Audiences will find nods to Diseny’s “The Lion King,” Elvis, Prince, and a special mention of Riverside favorite Sally Struthers, who will return to the theater in “Love Letters” from July 24 to August 4, 2024.

A notable addition to the show is the song “The Jitterbug,” which is not featured in the film version. The show runs through July 14, 2024.

Ticket prices for “The Wizard of Oz” at the Riverside Center for the Performing Arts are as follows: Adult Dinner & Show tickets are $82 (plus applicable taxes), Seniors (65+) Dinner & Show tickets are $77 (plus applicable taxes), and Children (3-17) Dinner & Show tickets are $70 (plus applicable taxes). For those attending the show only, adult tickets are $65, Senior (65+) tickets are $60, and children (3-17) tickets are $55. An additional $5 online processing fee is applied per ticket.

The performance schedule includes several options. For Wednesday matinees, meal service is from 11:30 am to 12:45 pm, show-only arrivals are at 12:45 pm, and the performance begins at 1:30 pm. For Thursday through Saturday evenings, meal service and appetizers are available from 5:30 pm to 6:45 pm, show-only arrivals are at 6:45 pm, and the performance starts at 7:30 pm. Sunday matinees feature meal service and appetizers from 1:00 pm to 2:15 pm, show-only arrivals at 2:15 pm, and the performance begins at 3:00 pm. Food service for all performances stops 45 minutes before the performance.

The Riverside Center for the Performing Arts is staging a production of “The Wizard of Oz.” This classic tale follows young Dorothy Gale as she travels from Kansas to the magical Land of Oz. Audiences will join Dorothy on her journey along the yellow brick road to the Emerald City in this stage adaptation of L. Frank Baum’s work, which includes the iconic score from the MGM film.

Performances are scheduled as follows: Wednesday matinees will have meal service from 11:30 a.m. to 12:45 p.m., with show-only arrivals at 12:45 p.m., and the performance starting at 1:30 p.m.. Thursday to Saturday evenings will have meal service and appetizers from 5:30 p.m. to 6:45 p.m., show-only arrivals at 6:45 p.m., and the performance starting at 7:30 p.m. Sunday matinees will feature meal service and appetizers from 1 p.m. to 2:15 p.m., show-only arrivals at 2:15 p.m., and the performance starting at 3 p.m.

Ticket prices are as follows: for the dinner and show, adults pay $82, seniors (65+) pay $77, and children (3-17) pay $70, all plus applicable taxes. For the show only, adults pay $65, seniors (65+) pay $60, and children (3-17) pay $55. An online processing fee of $5 per ticket will be added.

For more information and to purchase tickets, visit the Riverside Center for the Performing Arts website.

The Riverside is at 95 Riverside Parkway, just off Interstate 95 and Route 17 in Stafford County.

In “They’re Playing Our Song” now at Riverside Center for the Performing Arts, Carson Eubank and Ashlee Waldbauer command the stage with a dynamic energy that transports the audience into the heart of the comedic journey. Eubank’s portrayal of Vernon Gersch, a wisecracking composer in search of a new lyricist, is solid, and his piano playing is so authentic that you’d swear he’s actually at the keys (which he proved he could really do at the Stafford County Business reception held at The Riverside on Wednesday, April 24, 2024).

Meanwhile, Waldbauer’s portrayal of Sonia Walsk, who experienced early songwriting success and is and is in awe of Gersch’s accomplishments, exudes energy, pulling the audience right into the passenger seat of his car on the dramatic drive out to Long Island and on to her moving rendition of “I Still Believe in Love,” (with which Waldbauer also wooed the crowd during an impromptu performance at the business reception).

Vernon and Sonia, have their own storied history, drawing inspiration from the real-life relationship between Marvin Hamlisch, an American composer, and conductor, and one of the few to win an Emmy, Grammy, Oscar, and Tony award, and Carole Bayer Sager, who wrote the chart-topping hit, “A Groovy Kind of Love,’ while still at New York City’s High School of Music and Art. Eubank shared insights into the play’s semi-biographical nature, revealing how Neil Simon dramatized the anecdotes shared by Hamlisch about his collaboration with Sager.

Eubank and Waldbauer discussed the unique challenges and rewards of carrying a two-person show. Waldbauer emphasized the intense focus required to keep the performance on track, highlighting the trust and camaraderie she shares with Eubank. Eubank humorously acknowledged Waldbauer as a superior acting partner to Tom Hanks’ volleyball in “Castaway.”

“I think we’ve had multiple conversations about how this is easily the hardest show we have ever done, but it’s also been the most rewarding at the same time. We describe the show as ‘a train that you got to make sure that you are on it and focused 24/7,’ because once you fall off, there is no getting back on. But thankfully, Carson and I have built such a trust with one another that we know that if something goes wrong or if there’s a line flub, we’ve got each other. And that’s been really, really fun to build with one another in this rehearsal process,” said Waldbauer.

“The play is semi-biographical about the two of them, but it’s not Marvin and Carol. It’s Vernon and so on. So they changed the names. And it’s interesting little quick backstory about how the play was written. Marvin Hamish and Neil Simon lived in the same building in New York. And Marvin would tell these stories to Neil about this girl, Carol, that he’s working with and all these idiosyncrasy democracies of hers. And Neil would just laugh and laugh and say, you really got to write this stuff down. But then, one day, Neil came and left a little manuscript on Marvin’s doorstep that had been all of the stories, and Neil had written them down and created this draft of a play. And as Neil tells it, he took the events of what Marvin described and then dramatized them a little bit. So yes, it’s semi-autobiographical about the two of them, but not fully,” explained Carson. “I think it hits all the right notes in terms of it’s got the comedy, so it’s mostly just a fun evening at the theater.”

Regarding the appeal of “They’re Playing Our Song” to audiences, Eubank underscored the blend of comedy and music, with a score by Marvin Hamlisch featuring both familiar tunes and catchy up-tempo numbers. Waldbauer echoed the sentiment, emphasizing the show’s ability to entertain and engage audiences with its comedic elements and musical prowess.

“They’re Playing Our Song” comes on the heels of Riverside’s celebrated production of “Jersey Boys,” full of singing familiar songs and dancing – the actors on stage and the audience in the seats. Eubank and Waldbauer praised the theater’s commitment to bringing diverse and quality productions to the community.

“When we build a season, we’re always trying to think about, first of all, what our audiences know that they want. They want “Jersey Boys,” they want “Beautiful,” which we’re doing later in the season. But I think by doing those shows, you earn their trust and you earn their respect for what you’re doing and knowing that whatever we produce here is a quality and they enjoy everything they see,” said Carson, who is also the newly named Associate Producing Artistic Director/Music Supervisor of Riverside Center.

“And as a New York-based actress, I love coming back to this theater. I mean, it’s my third time coming back, and every time, they just reel me in with a juicy little roll,” added Waldbauer. “I’ve just been so grateful for the relationship relationships and the people here are just awesome.”

The show runs now through May 12, 2024, at the Riverside Center for the Performing Arts, 95 Riverside Parkway in Stafford County. You can purchase tickets online.

Jarett Bloom and Cooper Shaw, cast members of the Riverside Center for the Performing Arts production of “Jersey Boys,” give us a behind-the-scenes look at the show’s dynamics and their experiences at the Riverside.

Bloom plays Bob Gaudio, who Gaudio wrote or co-wrote and produced the majority of The Four Seasons’ music, including hits like “Sherry” and “December 1963 (Oh, What a Night).” Cooper plays Nick Massi, the band’s bass singer, songwriter, and bass guitarist.

Both cast members talked about the challenges of singing the iconic Four Seasons songs, the intricate harmonies, and the unique voices each cast member brings to the performance.

“I mean, the biggest thing with all of the harmonies and stuff, a lot of it is just listening to each other, going through it… what really set them apart as a group is that there wasn’t, like, a single voice because the closest match you had that time musically was like the Beach Boys, who had a very brotherly sound where they sang with one voice. But each of the seasons really has their own voice,” said Bloom.

“Jersey Boys” chronicles the evolution of four blue-collar children who became one of the greatest success stories in pop music history – Frankie Valli and The Four Seasons. It won Best Musical at both the Tony Awards and Olivier Awards; the show provides an intimate look behind the scenes at the 40-year friendship that propelled these young talents from the streets of New Jersey to the heights of stardom.

The performances feature chart-topping hits like “Sherry,” “Big Girls Don’t Cry,” “Can’t Take My Eyes Off You,” “Dawn,” and “My Eyes Adored You.” These songs defined an era and earned The Four Seasons into the Rock ‘n’ Roll Hall of Fame.

The duo commented on the honor of playing these pop music icons, the importance of trust and collaboration among the cast members, and the dedication to perfecting the music and choreography.

“I’ve been telling people, every time I talk about the show, I feel like Jersey Boys is one of the most technically impressive shows that I’ve seen at Riverside since before the pandemic, just because of all the aspects that have gone into it design-wise,” said Shaw.

Both actors expressed joy in hearing stories from audience members about their memories associated with the songs, emphasizing the show’s impact on people’s lives.

“We’ve had people tell us, ‘oh, when I first started dating my wife, we would dance to this song all the time. Or I remember falling in love when “Sherry” was, like, topping the billboard.’ It is almost always “Sherry,” but everybody has such fond and distinct memories and remembers where they were the first time that they heard these songs,” said Bloom.

Riverside’s transition from a dinner theater business model to a more diverse arts venue and its changeover to a non-profit corporation has made the theater a better place to perform.

Riverside is home to Shaw, who’s been performing on its stage since he was a child. He was in the ensemble cast of Peter Pan and later worked with actress Sally Struthers, a Fredericksburg theater favorite who graced the stage more than six times.

“I did theater here as a kid, so it’s fun coming back and seeing how much it’s changed… It’s really special. And, I mean, both of us, we’ve worked all across the country, up and down, but there’s a reason why we always come back to Riverside.”

One must try on the menu for thirsty theater goers is the New Jersey Whiskey Sour — Bullet Bourbon, Lemon juice, Simple syrup, Layered with Cabernet Sauvignon wine. It’s a hit in its own right.

The show’s impressive 10-week run ends on March 24, 2024.

The Riverside Center for the Performing Arts sits at 95 Riverside Parkway in Stafford County, just off Route 17 and Interstate 95.