Myles Frost and the company of “Chez Joey.” Photo by Matthew Murphy.
Legendary jazz musician Louis Armstrong once said, “What we play is life.” Music is emblematic of the existence we lead and that which surrounds us. Jazz music even more so. “Chez Joey” at Arena Stage displays a deep understanding and use of this concept in their jazz-centered adaptation unlike anything you’ve seen on stage. In “Chez Joey’s” transporting world premiere at Arena Stage, Rodgers and Hart’s “Pal Joey” finally bewitches, bothers, and bewilders.
…each performance blends seamlessly into the next…This production executes an entirely distinct, artistic vision that somehow works better than the original show ever could…it’s a hit.
“Chez Joey” is adapted from Richard Rodgers and Lorenz Hart’s “Pal Joey,” a 1940 adaptation of a collection of short stories published in The New Yorker. “Pal Joey” premiered on Broadway in 1940 starring Gene Kelly (then a mere ingénue) but only managed to run for a little under a year. Hart passed away two years later but, despite Rodgers’ success with Oscar Hammerstein in countless other Broadway shows, he continued to believe in “Pal Joey.” Even through four Broadway revivals, two West End runs, and a movie starring Frank Sinatra, the show never seemed to reach notoriety—until now.
The team behind this revival is led by co-directors dancer Savion Glover (actor/dancer) and Tony Goldwyn (actor/director and part of a legendary film dynasty). They set out to follow in the footsteps of such revivals as “Merrily We Roll Along” (2023) in transforming a beloved piece that has yet to be produced remarkably—and they do just that. “Chez Joey” maintains the bones of “Pal Joey” but fleshes it out with jazz roots that have always underscored the show. Here, they are now at the forefront. With an all new book by Richard Lagravenese (“Water for Elephants”) and newly added songs from the Rodgers andHart library, this production finally makes Joey’s story something extraordinary.
“Chez Joey” opens with a six-piece jazz ensemble at Lucille’s, a Chicago club where real jazz lives and breathes. Joey (Myles Frost), one of the performers, has dreams larger than comprehension and an oh-so dangerous charm. When he meets Linda English (Awa Sal Secka), a fellow performer, he meets resistance for the first time leaving him intrigued, musically and romantically. But Lucille’s is going under so Joey decides to seduce Baroness Vera Simpson (Samantha Massell) into helping the club.
Lagravenese’s adapted book shifts focus from a story about achieving your dreams to a story about what you lose in the process. This small, tonal switch adds layers to the story that previously lacked. Because every other element of the show sets an impossibly soaring bar, the book is the weakest link. The story finds its footing after intermission but fails to find a clear through line in setting up the story in the first act. Because of this, audience members only buy into the characters’ on-the-page stories through irresistible music that picks up the slack.
Although the book struggles to find its footing, every other element of the production is utter perfection. It is deeply authentic to its environment at every level. Simply integrated jazz orchestrations nourish the classic score to full health, making each song, even the new additions, finally memorable. It helps that each vocal performance is both technically and stylistically stunning. The nearly consistent riffing of the on-stage jazz ensemble underscores scenes spinning music into a near subplot of its own.
Jazz is the expected star of the show, but Savion Glover’s astoundingly innovative choreography layered in even the most unforeseen of moments—and its execution on stage—is jaw-dropping and memorable. Known as one of the greatest tap dancers of all-time (a protégé of the late, great Gregory Hines), Glover not only picks up the through line lost in the words, but conveys an entirely new story. That is the reason this show works now, and possibly what it’s always been lacking. His movements allow room to breathe on stage, especially thriving where dance is unexpected. Despite the numerous times Myles Frost jumps into the Michael Jackson splits, Savion Glover is the clear hero of “Chez Joey.”
Under the co-direction of Glover and Tony Goldwyn (“Scandal”), each performance blends seamlessly into the next. Awa Sal Secka lends her absolutely flawless voice to superbly execute Linda English’s story. She is a true star in the making. Other standouts include Samantha Massell’s Vera Simpson, a Mid-Atlantic baroness with an old-movie voice; as Lucille Wallace, Angela Hall’s physicality; and, as Melvin Snyder, Kevin Cahoon’s kind-hearted comedy. Joey’s “Cats” (Josh Johnson, Marcus John, Lamont Brown, Addi Loving, and Crystal J. Freeman) execute stylized movement with ease while Lucille’s girls (Charis Michelle Gullage, Kalen Robinson, Ndaya Dream Hoskins, Alana S. Thomas, and Brooke Taylor) bring the ensemble to the forefront.
Leading the company is Tony-Winner Myles Frost. Frost, a DMV native, won a Tony Award for his 2022 performance as Michael Jackson in “MJ the Musical.” Following his vast success with “MJ,” the eternal question was: Can he find his footing outside of the iconic character? In this production, the clear answer is yes. Though obviously influenced by Jackson (who wouldn’t be), Frost finds a more mature sound to sink into the character of Joey.
The jazz-club atmosphere of “Chez Joey” is even further enhanced by Derek McLane’s contrasting dual set: the traditional red of Lucille’s and the flashy green of Chez Joey. Lighting by Adam Honore works side-by-side with Emilio Sosa’s costumes to further the innovative nature of this production.
“Chez Joey” at Arena Stage undoubtedly answers the question most revivals can’t. Why bring this show back at this time? This production executes an entirely distinct, artistic vision that somehow works better than the original show ever could. In “Chez Joey,” “Pal Joey” has found its home, and it’s a hit.
Running Time: Approximately two hours and 30 minutes with one 15-minute intermission.
Advisory: Contains theatrical haze.
“Chez Joey” runs through March 15, 2026 at Arena Stage, 1101 6th Street SW, Washington, D.C. 20024. For more information and to purchase tickets, please call the Box Office at (202) 488-3300, Tuesday – Sunday, 12-8pm (the Sales Office will only be open in-person two hours before each performance), or go online.
