Asolo Repertory Theatre weaves a 'Beautiful' tapestry

“Beautiful: The Carole King Musical” is singing the songs of Carole King on the Asolo Repertory Theatre stage. Douglas McGrath wrote the book for the hit show, which ran from 2014-19 on Broadway. Needless to say, King wrote the tunes — with a little help from friends like Gerry Goffin (her ex-husband), Barry Mann and Cynthia Weil — at the dawn of her career. This beautiful musical is packed with King’s music. But don’t call it a “jukebox” musical. At least not in front of director Shelley Butler.

“It’s much more than that,” she says, “It’s Carole King’s biography — the story of a life in song.”

And what a beautiful life it’s been.

Once upon a time in New York City

King’s songwriting saga began in the Big Apple when she was only 16. Music publisher Don Kirshner was minding his own business — until a teenaged King walked into his recording studio to sing him a song she’d written. He told her that’s not the way it works. She sang it anyway.

Kirshner liked her style — and raw talent. King quickly got to work in the Brill Building — a music factory that ground out hit after hit. The teenage talent created her own chart-toppers — “One Fine Day,” “Some Kind of Wonderful,” “The Locomotion” and “Up on the Roof,” to name a few. 

Image courtesy of Adrian Van Stee

Bands and artists like Aretha Franklin, The Shirelles, The Chiffons and The Drifters sang King’s songs. But they were overproduced in the “Wall of Sound” style pioneered by Phil Spector, and other voices were singing her songs.

 But King found her own voice. In 1971, her voice rang out on “Tapestry,” her breakthrough solo album produced by Lou Adler. King simplified and got straight to the heart. No studio trickery, no lush arrangements. Just acoustic and electric guitar, piano, electric keyboards, congas, drums, string bass. And King’s voice. That was it, and that was all. It was more than enough.

Weaving the tapestry of a lifetime

The Asolo Rep production isn’t Butler’s first spin on this musical merry-go-round. She’s directed and co-directed multiple iterations of “Beautiful,” including a production in Japan.

Butler describes these early productions as a “revelation.” She already loved King’s music — but she didn’t know how much there was to love.

“I knew and loved ‘Tapestry,’” she says. “But I didn’t realize that King and Gerry Goffin had written so many number one hits for so many other artists. And I had no idea that James Taylor and Joni Mitchell sang backing vocals on ‘Tapestry.’”

Butler also discovered that King’s string arrangements on “Will You Love Me Tomorrow” were inspired by The Drifters’ “There Goes my Baby.” King also composed the music for The Monkeys’ “Pleasant Valley Sunday.” Who knew?

Fun facts — but they’re not the point. For Butler, the point was always getting to know King’s character. After a host of “Beautiful” productions, she got to know her very well. As to putting that character on stage, she lacked creative control.

“Not to get too technical, but I was re-staging the original director’s vision for the Broadway tour,” Butler says. "I had some wiggle room, but a lot of the creative decisions had been made.”

But the Asolo Rep production is Butler’s baby. Totally.

“This time around, it’s my directorial vision,” she says. “There are powerful things in the show’s DNA. Doug McGrath wrote an amazing book. We’ll honor the core truths of Carole King’s story in his script. But we’ve found our own fresh take.”

The actor who would be King

Julia Knitel is also reprising the role of King. Knitel first stepped into King’s shoes during the musical’s initial Broadway run and national tour. She’s thrilled to rediscover her love for her legendary character and her music.

Image courtesy of Adrian Van Stee 

For Knitel, it’s been like revisiting an old friend. “Julia’s extraordinary,” Butler says. “She's an incredible singer and actor in her own right. "Julia’s not doing a Carole King impression; she’s embodying Carole’s spirit. She’s living her truth, and it feels utterly authentic.” 

Butler adds that this “Beautiful” biography is a moving target. “Carole King changes and evolves over time. Her music evolves, too. Julia really makes you feel her artistic growth.”

Making beautiful music together

Music director Angela Steiner brings King’s musical metamorphosis to life with an 11-piece orchestra. “Beautiful” frames the songs in terms of her creative process. The first act hits you with an overproduced “wall of sound.” In the second act, King’s music gets down to earth. And culminates with her triumphant Carnegie Hall concert. It showcased King’s songs on “Tapestry.” And helped make her a star.

“You’ll see King’s creative growth,” says Butler. “But that growth doesn’t exist in a vacuum. She’s a collaborator, and open to artistic influences. McGrath’s book really brings that out. King co-wrote with her ex-husband Gerry Goffin and others at the beginning of her career. Black artists like The Drifters and The Shirelles sang King’s songs — and they also influenced and inspired her. Those incredible artists put Carole and Gerry on the map. This show honors that legacy. I think it’s a beautiful thing.”