Review: Just In Time

Bringing a new show directly to Broadway is a risky move. Many times, it results in an unpolished mess, but the rare exceptions can turn into unexpected gems. 

That rare gem is Just In Time, the brand new bio-jukebox musical telling the story of Bobby Darin that opened at the Circle in the Square this spring. After being workshopped for many years, this was the first full staging of the show, a move that created a substantial amount of intrigue surrounding it due to the little information available, and audiences went in completely unprepared for the charm that awaited them. 

Just In Time at the Circle in the Square

Directed by Alex Timers, who is no stranger to stage spectacles, the theatre has been converted into a nightclub setting, complete with cabaret tables on the floor. Designed by Derek McLane, he considered every inch of the space. From the curtains and fixtures that line the walls, to features hidden in the ceiling that descend throughout the production, his design completely immerses the audience in Bobby Darin’s story. The main stage sits at the back of the auditorium, and is where the majority of the action takes place, save for a few moments where performers are on a satellite stage or in the audience. As is explained to the audience early on, Darin only truly ever thrived on the stage, and the decision to have the entire show take place on an in-world stage—even the scenes taking place in other settings—emphasizes that aspect of his life. 

McLane’s set is enhanced by Catherine Zuber’s period costumes and Justin Townsend’s stunning 360 degree lighting design, perfectly capturing and amplifying the emotion of the scene. Peter Hylenski’s immersive sound design allows the audience to truly feel like part of the action, watching one of Darin’s shows, and beautifully blended the onstage band with the voices, differentiating when Darin is performing, versus off-stage scenes. 

Of course, playing Bobby Darin, Tony-winning actor Jonathan Groff delivers the most sensational performance of his career. He never leaves the stage throughout the entire two and a half hour show, and truly exudes charm and passion for this show, evident through his beaming smile and radiant personality. He has been with it since its inception, and is such an integral piece of it that he is introduced as himself at the beginning of the musical, rather than Darin. He introduces us to himself (a “wet man”) explaining the similarities he has found between him and Darin: their romantic troubles, and above all, their overwhelming love of performing. It is clear that Groff has a reverence for this music and story throughout his performance as he sings, spits, and dances his way through the relentless pace of the show, and is truly a wonder to watch.

Jonathan Groff in Just In Time

Supporting Darin are the women in his life—familial and romantic, influencing every moment of his career. Established pop singer Gracie Lawrence (of the band Lawrence) plays Connie Francis, Darin’s first love, who became a pop star herself after their breakup. Her beautiful, gritty voice lends itself perfectly to Francis’ music, and pulls at the audience’s heartstrings, especially in “Who’s Sorry Now?,” her biggest number. She disappears for much of the second act, but is replaced by the equally brilliant Erika Henningson as Sandra Dee. She plays the progression of her relationship with Groff’s Darin from reluctant courtship to their fairytale Hollywood wedding with grace and naivety that makes their divorce all the more painful to witness, as she struggles to cope with the expectation to be on display at every concert. 

Michelle Pawk and Emily Bergl play Darin’s family members, and throughout the show, they continuously show their undying devotion and support towards Bobby. As a sickly child, he was never expected to live past sixteen, and their differing treatments of him in relation to that fact fostered a sense of urgency that turned into purpose in Darin. With him throughout his life, always as his biggest supporters, their love was what propelled Darin to pursue his unexpected gift of life, and embrace it. 

Onstage nearly as much as Groff, his Sirens—backup dancers and singers—flawlessly execute Shannon Lewis’ energetic and intricate choreography, much of which Groff also performs. The Sirens, with the male ensemble, were the show’s chameleons, playing various characters throughout Darin’s life and career. Using simple props and set pieces to build Hollywood backlots, smoky lounges, and vibrant nightclubs, their synchronized motions build the worlds of the show and the people that occupy them. 

The company of Just In Time

Groff and the cast sing their way through Darin and other singers of the era’s catalogues, accompanied by a brilliant onstage jazz-swing band. With bright, horn-heavy orchestrations by Andrew Resnick and Michael Thurber, they capture the sense of the nightclub, immersing the audience even deeper into the world of the show, from the very beginning. Their first featured moment comes during the prologue sequence, and introduces the audience to the sound of Darin’s era. 

With most jukebox musicals, the book plays the most crucial role in the strength of the material. This is in order to make up for the lack of story-specific lyrics that cannot move the plot forward, and the book is generally the aspect that separates a flop from a success. Penned by Warren Leight and Isaac Oliver, Just In Time’s book is exceptional. Adopting the unorthodox style of shattering the fourth wall before the show even begins, Groff takes the audience on the journey with him, explicitly stating that during the show, he is himself, playing Bobby Darin. This was a clever and effective choice for the production, when many past biomusicals have faltered because their lead was not delivering as accurate a portrayal of the person as hoped, and instead, Just In Time avoids that altogether. The book is charming, witty, and full of surprises, always keeping audiences invested—despite revealing Darin’s early death within the first five minutes of the show. The book makes up for the lack of plot movement in the songs by tearing “fast and furious” through Darin’s short life, just as he lived. 

“Charm” is the name of the game with Just In Time, and despite falling victim to the inevitable limitations of jukebox musicals, this sets itself apart through its individuality. The structure and staging of the show allow it to feel unique—unlike any of its categorical predecessors. While there were occasional lyrical limitations, this show has some of the strongest material of the season, and has created a surprise hit, thrilling audiences nightly, while reminding them to live as Bobby Darin did: like there’s no tomorrow. 

4.5/5 stars

2 hours and 15 minutes, one intermission

Circle in the Square Theatre