
They sound like a good idea on paper, and there have been dozens bouncing around Broadway and on National Tours over the years, but the jukebox musical isn’t much more than a concert with some narrative.
There are two formats in this style of musical theatre. There’s the show that creates an original story and characters, but instead of using new music to further the plot, the songs of one or more artists are featured instead. This idea began in the 1980s, with shows like Return to the Forbidden Planet; then Mamma Mia! in the 1990’s, became a theatrical pop cult classic, despite the strained attempt to incorporate ABBA’s music into a bizarre, convoluted plot. The original story form of jukebox musical flourished in the 21st century with musicals like All Shook Up, Rock of Ages, Escape to Margaritaville and the excellent, new Jagged Little Pill.
Then we have the biographical jukebox musicals that claim to be based upon the life/lives of a famous singer or musical group. The best examples include Jersey Boys, On Your Feet, Beautiful: The Carol King Musical and Ain’t Too Proud. But for every excellent tuneful life story there are many other less successful, even painful, musical memoirs. We Will Rock You, Hot Feet, The Cher Show and Tina: The Musical come to mind.

The script divides the role of Summer between three excellent actress/singers. The show opens with Diva Donna, the elder version of the singer. She’s portrayed by the magnificent Dan’yelle Williamson, a gifted vocalist and actress with scores of Broadway, international and touring credentials, to her name. Williamson opens the “concert of a lifetime,” as her character appropriately labels the show, with a song entitled “The Queen is Back,” referencing Summer’s often used moniker, The Queen of Disco. She guides theatergoers on a journey recalling the high points of her short life. But not only is Williamson a superb singer, who’ll knock your socks off, she’s an accomplished actress and dancer, as well.

Olivia Elease Hardy portrays the younger, preteen version of the disco queen. Christened LaDonna Adrian Gaines, this talented little girl soon became the star of her Boston church choir, even though she was being continually abused by the minister. This, like many of the significant events from Summer’s life, is only touched upon, giving the audience a mere outline of the singer’s life. Summer would be destined for much more, but this musical glosses over most of it, in favor of simply hearing her hit songs. While some of Summer’s music appears in abridged versions, other songs, such as “She Works Hard for the Money,” become full-out production numbers. We’re treated to strains of “I Feel Love,” “Heaven Knows,” “MacArthur Park,” “On the Radio,” “Bad Girls,” “Dim All the Lights,” “Hot Stuff” and many others. The diva’s breakup with her abusive first husband is told through her famous duet with Barbra Streisand, “No More Tears (Enough is Enough);” and the finale of the show is performed by the entire company to her mega disco hit, “Last Dance.”

Broadway in Chicago presents “Summer: The Donna Summer Musical” through February 23 at the Nederlander Theatre, 24 W. Randolph Street, Chicago. More information and tickets are available here.
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