As dynamic as the early Four Seasons and Frankie Valli whom they imitate, the performers of Who Loves You transfer their energy to their audience with music and movement. When the group gets to Dion and the Belmonts’ “Teenager in Love,” those listening become spontaneous singers joining in. The program greatly spurs many to reliving their younger days or discovering earlier or later somethings good they’ve missed. Of note are the Four Seasons songs dedicated to women, starting with the hit “Sherry” (Michael Maricondi leading) and going on to “Rag Doll” and “Dawn.” “Runaround Sue” from Dion DiMucci’s repertoire is a bit lesser known but ends Act I of good 1960s songs to girls. The whole act is lively as can be with choreographed moves to match. Lest the men be forgotten, “Walk Like a Man” is the song that, it is suggested, cemented the Four Seasons’ place in musical history. Bobby Darin’s “Splish Splash” is also prominent. The middle of Act II brings rambunctious treatments of songs by Elvis Presley (“Return to Sender”), The Mamas and the Papas (“California Dreamin’”), and rivals The Beach Boys (“God Only Knows”). Frankie Valli and The Four Seasons’ hits like “Stay” introduced the festivities. The last five songs are theirs, perhaps the most popular being “Can’t Take My Eyes Off of You” during which each singer points to and connects with certain members of the audience, whom they seem to have known for some time. When the show’s title song comes, we feel loved by the convincing singers. Costumes are perfect, starting with black tux, white shirts, long thin purple ties consistent with the tone of the early songs and formal dress of the period. For Act II, the men wear patterned silver tux jackets—flashy and yet somewhat more relaxed. The tones of the curtained background colors reflect change. There’s added use of a lit, mirrored overhead ball and flashing lights around the backdrop. Nicely theatrical. While the singers make a fine team, each retains his own personality. Maricondi, the shortest, moves most energetically. Mick Bleyer emphasizes narration. Charlie Levy is smooth as the first tenor. Peter Romagna looks most like guys of the stressed periods, especially with his slick black hair. If there is one outstanding characteristic of the group, it is their perfect harmonizing. Tom Costello’s piano couldn’t be better. Thanks to Thomas Korp’s sound design, the music and singing come over just right in every respect, including volume. My only regret is that the performers have not given themselves a distinguishing name. I think they work well enough together to merit a title.
