Jessie Mueller and Jake Epstein in Beautiful - The Carole King Musical
(©Joan Marcus)

Baby boomer musical nostalgists have a lot to choose from on Broadway these days. They can see faux versions of Frankie Valli and the Four Seasons in Jersey Boys, Janis Joplin in A Night with Janis Joplin and the entire stable of vintage Motown artists in Motown—The Musical. And now there’s singer/songwriter Carole King, whose early life is recounted in the wonderfully entertaining Beautiful—The Carole King Musical.

As with most of its theatrical predecessors, this show written by Douglas McGrath takes a biographical approach, depicting the Brooklyn-born performer’s ascent from writing classic pop songs with her then-husband Gerry Goffin (Jake Epstein) before eventually finding huge solo success with her 25 million copy-selling debut album, Tapestry.

Rising star Jessie Mueller (On a Clear Day You Can See Forever, The Mystery of Edwin Drood) plays the title role, superbly conveying the young King’s insecurities and later her blossoming into self-identity as a solo performer. Although Mueller doesn’t get to sing much in the first act, when she later performs such seminal hits as ”It’s Too Late” and “(You Make Me Feel Like) A Natural Woman” in a voice and style uncannily like King’s, she’s mesmerizing.

The musical’s terrific first half depicts Goffin and King’s rise to hit making status working for music publisher/producer Don Kirshner (Jeb Brown) at his legendary office at 1650 Broadway, where they competed with the equally successful songwriting team of Barry Mann (Jarrod Spector) and Cynthia Weill (Anika Larsen). We’re repeatedly treated to wonderful scenes of the dueling teams performing rough demo versions of classics like “Some Kind of Wonderful,” “Will You Love Me Tomorrow,” “Up on the Roof,” “On Broadway,” “You’ve Lost That Lovin’ Feeling” and “One Fine Day” before they’re transformed into slick renditions performed by facsimiles of The Drifters, The Shirelles and the Righteous Brothers, among others.

The show admittedly gets bogged down in Act 2, when it concentrates on the failing marriage of King and Goffin caused by his rampant infidelities, drug use and emotional problems. The tiresome melodrama is only partially alleviated by the humorous depiction of the relationship between the neurotic, hypochondriac Mann and the commitment-phobic Weill, with McGrath’s book featuring enough witty one-liners to help viewers navigate the rougher patches. And the sheer profusion of classic pop hits beautifully sung by both the lead performers and the supporting ensemble provide abundant pleasures.

Director Marc Bruni keeps things moving at a briskly entertaining pace, and choreographer Josh Prince well replicates the familiar dance moves by the legendary performers depicted. Derek McLane’s two-tier set effectively suggests the busy confines of the Kirshner office as well as other locations, while Peter Kaczorowski’s lighting and Brian Ronan’s sound design enhance the musical performances.

Besides the luminous Mueller, the supporting players are also terrific, especially Spector and Larsen in their largely comic relief turns as Mann and Weill. Epstein is charismatic enough to make Goffin sympathetic despite his often insensitive behavior; Brown is hugely appealing as the slave-driving but deeply supportive Kirshner; and Liz Larsen provides many amusing moments as King’s stereotypically Jewish mother.

Beautiful doesn’t quite match the propulsive theatrical energy of Jersey Boys or contain the volume of classic hits on display in Motown. But it’s got charm and heart to spare, and by the time the cast belts out “I Feel the Earth Move” during the curtain calls you’ll probably be feeling it move as well.