Jolson

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Introduction to "Jolson"

"Jolson" premiered in London’s West End at the Victoria Palace Theatre on October 26, 1995, running for an impressive 17 months with over 500 performances before closing in early 1997. Conceived by Michael Freedland, with a book by Francis Essex and Rob Bettinson, this musical celebrates the life of Al Jolson, America’s iconic entertainer, through a score of Tin Pan Alley classics. Directed by Bettinson, it starred Brian Conley as Jolson, Sally Ann Triplett as Ruby Keeler, and John Bennett as Louis Epstein. A jukebox musical bursting with hits like "Swanee" and "My Mammy," it brought Jolson’s charisma and controversies to the stage, delighting audiences with its nostalgic energy and Conley’s dynamic performance.

The Creative Team Behind the Show

Francis Essex and Rob Bettinson co-wrote the book, balancing Jolson’s triumphs with his flaws, while the score drew from songwriters like George Gershwin and Irving Berlin. Bettinson also directed, leveraging his "Buddy" success, with choreography by Tudor Davies though some felt it underused Conley’s dance skills. Brian Conley, a TV comic turned stage star, led with a Jolson-esque bravado, supported by Sally Ann Triplett’s radiant Keeler and John Bennett’s steady Epstein. Producers Ian McGarry and Roger Pennington, with Robert Jones’ Art Deco sets, crafted a £2 million spectacle that aimed to recapture the Jazz Singer’s golden era.

A Song-Filled Life on Stage

The plot spans 30 years of Jolson’s career, opening in the 1920s at his peak, stealing a song from a trio and wooing Ruby Keeler. It traces his "Jazz Singer" fame as the first talkie star, his 1940s decline amid Keeler’s rise, and a triumphant Radio City comeback post-"The Jolson Story" film. Key moments include his wartime troop shows and personal lows ego clashes and a failed marriage. Songs like "Rock-a-Bye Your Baby with a Dixie Melody" and "California, Here I Come" drive the tale, ending with a hit medley that sidesteps deeper biography for crowd-pleasing nostalgia, spotlighting his larger-than-life persona.

Performance and Reception

"Jolson" opened to enthusiastic crowds, with Conley’s commanding presence earning standing ovations Variety dubbed him “a one-man show within a show.” Critics were mixed: The Guardian praised the “vintage kitsch” (like Triplett’s eagle descent) but found the book “bland,” while audiences adored the songbook and Conley’s mimicry, pushing it past 500 performances. A live cast recording from February 29 to March 2, 1996, by First Night Records captured its vibrancy. Though some felt it glossed over Jolson’s complexities like his blackface legacy it thrived as a feel-good tribute, bolstered by a mid-run cast shake-up with Maureen Davis as Keeler.

Legacy in West End Theatre

"Jolson" carved a niche in 1990s West End history, riding the jukebox musical wave pre-"Mamma Mia!" Its 17-month run outpaced many peers, though a planned Broadway leap never materialized. A 1997 Toronto stint at the Royal Alexandra Theatre and a 1998 U.S. tour hit 34 cities, spreading its reach. Conley’s star turn and the cast album keep it alive for fans, despite Variety’s “dull” verdict on its sanitized take. A precursor to bio-musicals like "Jersey Boys," it remains a toe-tapping homage to Jolson’s era, a West End memory of when “you ain’t heard nothing yet” rang true.