Book by Douglas McGrath

Words and Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil

Music by Arrangement with Sony/ATV Music Publishing

Directed by Sam Hardie

Tickets from £15.00

The soundtrack of one generation to the next, and striding forth even further, singer and songwriter Carole King forged her path from an early age and away from the expectations laid upon her and in the face of obstacles. Laid bare for the Pitlochry audience, their Scottish staging of Beautiful: The Carole King Musical steps into the sunlight with a breathtakingly sincere leading performance, crafting a touching production of the biopic and leading it away from the tropes associated with jukebox musicals.

But don’t for a second think there isn’t a bop or two to keep the crowd from sitting stationary for too long as they venture through King’s life and the adversaries she overcame, which led her life into legacy.

Quite rightly at the centre of it all, Kirsty Findlay is a remarkably gifted and accomplished Carole King, exceeding the traditional dynamics and restrictions in performing biopics; more than vocals and snappy dialects, the evolving physicality of the role is beautifully understated in Findlay’s emotionally intelligent performance, bolstered with Sam Hardie’s direction. King’s victories are noticed in Findlay’s shoulders, her defeats and setbacks spoken in her buckling. Their comedic beats and earnest moments of pathos and hurt are not so much sold, as wholly felt by the audience in an authentic delivery. Vocally, Findlay was always going to strike dawning gold, proven through festive shows and Finn Anderson’s A Mother Song. And here is perhaps their most accomplished vocal performance, weaving through genre and range effortlessly, always harmonising and maintaining an essence of character.

And while it’s difficult to match such a performance, Lola Aluko’s place as King’s partner-in-crime, Cynthia Weil, carried off with a rich performance that builds on those surrounding them. Not least is a positively bouncing and charged Theo Diedrick as Barry Mann (and one-third of the on-stage Drifters). Diedrick and Aluko make the show theirs in moments; a genuine connection adds to a charmingly paired romance. The pair (along with the rest of the cast) frequently perform live instrumentals – a moniker of Pitlochry’s multi-talented repertory cast. Rounding out the effective ‘leads’ is Connor Going’s Gerry Goffin: a name that, while often accompanied with hisses in this afternoon’s panto-loving crowd, is pitched at an appropriately ‘human’ level where the mentality of it all is played tastefully, earnestly, and harmonises well with Findlay and the others.

It’s not all sunflowers though. For the cheerful and talented moments Hardie’s production belts out to an eagerly appreciative audience, this Scottish rep premiere of the production comes with more than a few flat moments. Some of the revelations don’t land the mark wholly, or at least with the sting they ought, but perhaps most troublingly, some of the more prominent (if not leading) vocals miss the mark entirely.

Intimacy is at the centre of the show, in Douglas McGrath’s book and Hardie’s use of space in the Pitlochry auditorium. In a Pitlochry staple, Jessica Worrall’s staging is stripped back and places the live band in full view of the audience – allowing well-deserved praise and appreciation for the ensemble from the audience. And instead of flooding the audience in a more gleefully over-the-top positive yellow, Jeanine Byrne’s lighting instead accepts the melancholier moments and embraces the lingering happiness which can be redeemed in more, traditionally, underplayed azures and shadows.

Working themselves ragged with the instruments, most of the ensemble performers have a range of roles through the show – Luke Wilson and Charlotte Grayson providing some clean vocals, noted even whilst they harmonise with others, and Robin Simpson’s Donnie being a particular gem of a performance, striking some well-paced comedy with earnest moments. It encourages audiences to let out gasps of excitement as some of their favourite numbers are referenced and performed, Locomotion, Take Good Care of My Baby, and Walking in the Rain are all terrific pit-stops on King’s journey. And of course, Like a Natural Woman brings in those who weren’t already connected to the story.

Song rings out in the heart of Perthshire, in as gorgeously bright a setting as the tone and prestigious control Findlay and their peers. True to life and the story, a few rain clouds scatter an otherwise pristinely crafted production. Not enough to dampen the affair, but enough to cast a shadow over proceedings. But, at the heart of this show is solid gold. Hardie’s is a production which captures King’s life and the lasting impact she had on generations of women but is equally a show which places Findlay firming in a deserving spotlight alongside King.

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