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Just in Time Will Teach You About Bobby Darin and Even More About Jonathan Groff
A dual psychological portrait of subject and star, in the form of a bio-musical.
It’s easy for a show to lose its sense of purpose somewhere along the way to Broadway: The director lost whatever artistic impulse they had at the start, the producers hedged their bets on its commercial prospects, the original star left for a television gig, and what finally premiered is something half-baked and compromised, the kind of thing that leaves you sitting there in the audience wondering why any of this is happening. Groff, hot off a Tony win for his melancholy but golden Franklin Shepard in Merrily We Roll Along, has found a way to finally bring his fascination with Darin, who burned fast and bright as a singer and national celebrity and died at 37 from a longstanding heart condition, to a Broadway stage. Bobby, born Walden Robert Cassotto, grows up in Upper Manhattan with a Copa-obsessed mother (a stately Michele Pawk) and bothersome sister (Emily Bergl), woos a young Connie Francis (Gracie Lawrence) while trying to launch a songwriting career, and then ends up in front of the microphone himself.
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