Beaches Musical: Jessica Vosk's Powerhouse Performance Can't Save Soggy Broadway Adaptation

Majestic Theatre, New York — Despite a standout vocal performance from Jessica Vosk in the Bette Midler role, the stage adaptation of the beloved 1988 film fails to capture the emotional resonance that made the original a cultural touchstone.

Garry Marshall's 1988 film Beaches never aimed for subtlety. Yet the movie effectively tugs at heartstrings through its portrayal of a decades-long friendship hurtling toward tragedy. The presence of Midler in the cast ensured the narrative would be music-driven, blending classic standards with contemporary hits, particularly the chart-topping ballad "Wind Beneath My Wings," which became synonymous with Midler's recording.

On the surface, the ingredients for a successful Broadway musical appeared ideal: musical numbers central to the plot, two prominent female roles, and an aging fanbase potentially primed for theatrical outings. A stage version was first conceived in 2014, though the project stalled during out-of-town tryouts. It would take an additional 12 years and substantial revisions before reaching Broadway audiences. Unfortunately, despite the extended development period, the production remains incomplete.

Score Falls Short Despite Legendary Composer

The current Beaches adaptation, drawing more directly from Iris Rainer Dart's original novel than the film, features compositions by Mike Stoller, a 93-year-old industry veteran whose 1995 Broadway revue Smokey Joe's Cafe achieved major commercial success. While Stoller commands respect, his creative contributions here lack vitality. The original compositions prove repetitive and forgettable, with jazzy period-style melodies suffocated by Dart's overly explanatory, on-the-nose lyrics. Track after track—including "Show the World Who You Are," "Wish I Could Be Like You," and "The Brand New Me"—registers minimally with audiences.

Notably absent from the stage production are nearly all songs from the film, with the exception of "Wind Beneath My Wings." This omission particularly stings regarding the film's eccentric downtown avant-garde musical sequence featuring Midler's character, the ambitious singer Cee Cee Bloom. Where audiences might have expected experimental theatricality, the stage show substitutes generic background music.

Vosk Elevates Material Through Sheer Force of Talent

Camp elements do surface throughout, though primarily of the uninspired variety. Tellingly, the production lacks a substantial ensemble number capable of energizing the proceedings. Fortunately, Jessica Vosk's portrayal of Cee Cee demonstrates considerable vocal power and instinctive timing, essentially sustaining the entire enterprise. Similarly, young performer Samantha Schwartz, who portrays the younger Cee Cee in a springy red wig and feather boa, contributes genuine entertainment value.

The original film centered on Midler; the stage version intensifies this imbalance. Kelli Barrett, cast as Bertie (renamed Hillary in the film), functions primarily as a supporting player, performing the show's blandest musical numbers while awaiting Vosk's inevitable return to command attention. Barrett's character essentially marks time, allowing Vosk to reclaim focus and inject her characteristic wit and vitality.

Direction and Design Undermine Emotional Stakes

Vosk's necessity to dominate becomes more acute given the uninspired production values surrounding her. Directors Lonny Price and Matt Cowart demonstrate competence in executing small comedic moments—the frequently witty book by Dart and the late Thom Thomas provides material to work with—yet struggle to build momentum toward the narrative's crucial emotional climax. This sequence follows Cee Cee as she confronts her friend's serious illness and contemplates the fate of Bertie's young daughter. While the conclusion may still provoke tears, this likely stems from viewers' memories of the film itself or personal reflection rather than the stage production's two-hour effort.

Production designer James Noone's heavy reliance on digital projection transforms what should feel intimate and sentimental into something sterile and clinical. The stage features only two meager piles of artificial sand at opposite corners—hardly evocative of the title's promise. This design choice may prioritize logistical convenience for potential touring, simplifying technical load-in and load-out procedures.

Vosk as Tribute Act

The production may find success introducing generations of mothers and their gay male friends to this material. However, such success would rest almost entirely on Vosk's shoulders. Performing one's interpretation of Midler for an audience of presumed Midler devotees represents a daunting challenge that even accomplished drag performers would approach cautiously. Vosk, however, tackles the assignment with admirable determination, supplying the requisite old-fashioned theatrical presence that the show cannot generate elsewhere. Ultimately, this amounts to a competent Midler tribute—a sincere homage to the considerable artistry the legendary performer has invested in elevating melodramatic material toward something approaching transcendence.