Bette Midler’s 1988 classic tearjerker Beaches has long endured the test of time, even earning multiple Grammy Awards for the iconic, “The Wind Beneath My Wings.” Beaches, A New Musical opts to forgo most of that legendary soundtrack, supercharged by Midler ballads, instead forging ahead with a new original score by Michael Stoller, and lyrics by Iris Rainer Dart. The songs here are not the most memorable (particularly a few fillers by the generic men), yet this take on Beaches captures the magic of that timeless friendship for one of New York’s biggest stages. Through over three decades, we follow Cee Cee and Bertie on their epic parallel trajectories of highs and lows. This ultimately becomes a passionate love letter to the 80s film visually, both for better and worse. Gorgeous set design, the two most adorable child actresses to step into these roles, and the potency of its strong narrative carry Beaches through a few significant flaws.
For the uninitiated, Beaches finds two little girls from very different walks of life crossing paths, over and over again throughout their epic friendship. As the movie did before it, the show intersperses flashbacks to pivotal moments of their time growing up whilst the present day sees a now-celebrity Cee Cee (Jessica Vosk) desperately attempting to travel to Bertie (Kelli Barrett). Iris Rainer Dart wrote the novel on which every iteration of Beaches has been based—who better to pen the lyrics and book? Whilst Bertie’s name in the 80s film was changed to Hillary, on stage, Bertie retains her original namesake. Dart brings a deeper understanding of her universe than perhaps anyone else could, strengthening the narrative structure along the way.
We are immediately thrust into this world from the very first moment. A blue screen and beachy vibes give way to a sprawling beachscape situated on both ends of the stage. The staging utilizes large screens and plenty of unique art pieces to flesh out the locales. For this viewer, the most successful element is the omnipresence of the two child iterations of Cee Cee (Samantha Schwartz) and Bertie (Zeya Grace). They are almost always present somewhere on the stage, granting a dreamlike, reflect quality to the proceedings. This feels especially apt given the subject matter. There’s a real weight to the friendship, a haunting quality that evolves far beyond a simple construct.
A big opening number at the Cee Cee Bloom Variety Show sets the stage via its glitzy costumes, and a phenomenal performance from Vosk. Once Cee Cee gets notified of Bertie’s condition, she quite literally takes it to the streets, off on a series of seemingly neverending efforts to reach Bertie. The initial setup feels a bit clunky; however, the second the child iterations become folded into the fray, Beaches begins to find its footing. Schwartz especially could not be a more perfect fit for Cee Cee. Between her harsh language, powerhouse vocals, and impressive dance choreography, Samantha Schwartz absolutely lives up to the idea of Cee Cee while making it her own. Unlike the three eras of Bertie, all three depictions of Cee Cee are seamless and believable as being the same person.
Whenever the show leans into the campy dialogue and sexual innuendo, it garners major applause. The character of Cee Cee on paper was always the better written of the two, but there’s a push/pull to their unique dynamic that makes depicting it quite special. Unfortunately, Barrett feels miscast as Bertie. She cannot match Vosk in vocal prowess. However, her acting ability is impressive. In act II especially, Barrett makes Bertie the heart of the whole thing. Definitely bring some tissues—Beaches had everyone sniffling and crying in the packed house. When a show can make you feel something so deeply emotional, it’s easier to forgive the handful of unsuccessful elements.
Buoyed by its core cast, Beaches rides high on 80s nostalgia and sugary sweet vibes. But when asked to get serious, it thrives. The writing for the second half of the story digs into the meat of mortality and the human condition. Death eventually comes for us all. No one really wants to dwell on it, but Beaches finds a way to make death a poignant reality. The 1988 film was one of my mom’s favorite movies, one she revisited often, and could have influenced her own obsession with beaches. She would always tell me and my siblings that when she is no longer here physically, we can still visit her spiritually on a sandy beach. Warts and all, I know she would have adored this take on Beaches. Anyone who has a “best” will find something to love in this wondrously timeless story.
Beaches, A New Musical deconstructs the meaning of friendship, now playing performances at Broadway’s Majestic Theatre. For ticketing information, please head over to the official website.
