BEAUTIFUL - THE CAROLE KING MUSICAL

MustSee Shows

There is something undeniably joyful about community theatre that leans wholeheartedly into its purpose: to celebrate, to connect, and to share stories that resonate across generations. MustSee Shows’ production of Beautiful – The Carole King Musical does exactly this, offering an evening that pulses with energy, nostalgia, and a clear love for the music that defined an era.

Biographical musicals, however, present a unique challenge—particularly in the context of community theatre. Questions of likeness, vocal similarity, and cultural authenticity inevitably arise. Can a company fully replicate the iconic figures it portrays, and does it need to? MustSee Shows navigates this tension thoughtfully, choosing not to pursue strict historical replication, but instead to honour the spirit of the artists and their work.

At the centre of this interpretation is Rachel Bendeich’s Carole King, a performance grounded in sincerity and emotional authenticity. Bendeich captures the delicate balance between ambition and insecurity, offering a portrayal that feels both personal and relatable. Her vocal performances, particularly “You’ve Got a Friend” and “Beautiful,” are imbued with warmth and emotional clarity, reflecting a deep connection to the role—one she clearly cherishes.

Alongside her, Genevieve Grey’s Cynthia Weil is an immediate standout. From her first entrance, Grey commands attention with poise, precision, and sharp comedic timing. Vocally assured and full of personality, she brings both humour and edge to the role. Her dynamic with Bendeich forms one of the production’s most engaging relationships, balancing friendship and rivalry with an ease that anchors much of the narrative.

Opposite these exceptional leading ladies were Craig Nudelman as Gerry Goffin and Luke Derrick as Barry Mann. Nudelman held the role of “villain” well, but it was Derrick’s portrayal of Barry Mann that truly brought the charm and wit that matched the energy of Bendeich and Grey.

Where this production truly comes alive is in its ensemble work and musical execution. The stage is consistently filled with colour, movement, and vitality, reflecting the dynamism of the 1960s music scene. Supported by an uber-talented band, and working under the leadership of Musical Director Helen Howe, assisted by Libby Wood, the vocal sound is cohesive and stylistically grounded, with tight harmonies that elevate the musical numbers beyond simple nostalgia into genuine celebration.

Within the ensemble, several performers stand out. Sara Vencalkova brings charm and versatility, establishing character confidently before transitioning seamlessly into broader ensemble work. Also, I became a big fan of Lizzie Tang – joy and sass in human form – who featured as Little Eva, a ShIrelle, a Chiffon and a featured dancer. The portrayal of The Drifters (Geoffrey Edouard-Betsy, David Joseph, Dan Punzalan, and Cola Zhang) is a particular highlight, with polished harmonies and movement that effectively evoke the style of the era.

The production elements support this energy with clarity and purpose. Director Kathy Petrakis ensures fluid staging, making effective use of space and projection to maintain momentum. Choreography by Ali Bendall reflects the stylistic influences of the time, integrating movement naturally into the narrative. Behind the scenes, Stage Manager Alan Rosengarten facilitates seamless transitions (how many times did the team move pianos?!), while the costume team (Ileana Georgeson, Sandy Grant, Conny Volkerts and Kathy Petrakis) delivers vibrant, period-appropriate designs that are both aesthetically appealing and apt for the movement required.

Another feature of this production is the opportunities given to the talented performers of Sydney’s Community Theatre scene. While the roles of Carole and Cynthia were played by Rachel Bendiech and Genevieve Grey for the performance I attended, these roles are as spectacularly performed on other evenings by Rachel Amanda Thomas (Carole King)  and Lucy Giles (Cynthia Weil). With so much talent on hand, you are guaranteed to enjoy MustSee Show’s production.

Ultimately, this production of Beautiful succeeds not through exact imitation, but through its commitment to capturing the joy and essence of Carole King’s music. It is a reminder that community theatre is about passion, connection, and storytelling that resonates.

• Applause for performances grounded in authenticity and a production that embraces the spirit of its source material.

• Afterthoughts that linger on the enduring power of music to connect us—not just to the past, but to each other.

Beautiful – The Carole King Musical plays at Darling Quarter Theatre until July 5

Tickets available HERE

Photo credit: Grant Leslie Photography