Like many artists with indelible, defining signature hits or anthems, Frank Sinatra famously loathed his seminal ‘My Way’. Toward the latter years of his storied career, he wasn’t shy of sharing this with audiences, either.

It likely explains why this world premiere of Sinatra the Musical, developed with the blessing and involvement of the Sinatra family, completely omits arguably his most iconic tentpole. Heck, even ‘New York, New York’ is relegated to a peppy curtain call singalong.

Some may balk at this, but in truth, Sinatra’s catalogue of classics is so replete with incredible tunes and instantly-recognisable earworms that it matters little at all. In fact, there’s an admirable confidence to a production that doesn’t lazily dovetail to the expected, autopilot closer.

Outstide of this, things are a little more typical. Sinatra the Musical is a handsomely-performed, vibrant and polished affair. It is padded with some of the usual restraints and limitations of the musical biopic, and doesn’t prod too deeply beneath the surface when it comes to its titular crooner. The jury will likely be out for some as to whether it is a little too reverential – murkier beats such as Sinatra’s long-rumoured (and indeed, photographed) affiliation with mob kingpins is touched upon but mostly explained away, and his legion infidelities and indiscretions during marriage are presented here as a mostly breezy jaunt of naughtiness. The show does, at least, afford the excellent Phoebe Panaretos, as first wife Nancy Sinatra, some isolated moments of hurt and anguish as she spots her husband’s freewheeling plastered across the papers.

“The jury will likely be out for some as to whether it is a little too reverential…”

Again, much of this is predominately the nature of the beast when it comes to the musical biopic, and that’s perfectly fine, as most audiences will go in knowing and expecting precisely this. Joe Dipietro’s book bounces along through the decades and tumult of Sinatra’s turbulent career, though perhaps a little more focus on character over incident would make the extremes register a little stronger here. Sinatra’s down and outs are undone almost as quickly on stage as they are introduced, and the highs are similarly fleeting. It’s difficult at times to get a full sense of just how successful – or desperate – his life becomes.

At just shy of three hours, it’s a meaty tale, though, even if there’s probably an argument to be made that a slightly overlong first Act outstays its welcome by a good ten minutes or so.

That’s all there really is to critique, though. The sheer bombast and joy of having a full brass band on stage at regular intervals is an absolute treat, and lends the production an authentic, show-stopping sense of razzmatazz. It’s all nestled in Peter McKintosh’s colourful, period-infused staging – a neat hybrid of physical set pieces and characterful projection work. Jon Morrell’s costumes follow suit and are regularly stunning. Director Kathleen Marshall keeps things punchy and energised throughout, injecting some terrific fun and even verticality into sequences such as the aforementioned ‘Come Fly With Me’ carousel of lovers.

But really, Sinatra the Musical is carried on the shoulder of a superb company of performers who infuse it with heart, humour and depth that transcends its occasionally slight book.

Carl Patrick, Vincent Riotta and Dawn Buckland pepper scenes with a sardonic sense of humour and bluntness (and even the occasional no-nonsense, expletive-laden tirade) throughout as Frank’s manager and parents, respectively. Riotta and Buckland even get their own ‘Timeless to Me’ moment, kicking up laughs and a hearty cheer with a spirited riff on ‘You Make Me Feel So Young’. Greg Bernstein tap dances a storm, and brings that distinctive, cheery energy to occasional appearances as Gene Kelly, whilst Ryesha Higgs momentarily threatens to steal the entire show with an extended cameo from Billie Holiday that oozes class and Holiday’s trademark ‘whiskey’ charm.

“Sinatra the Musical does some powerful things with its leading ladies and their very separate – yet often complimentary – plights.”

Of its central trio, Panaretos does a tremendous job with the ‘long-suffering wife’ supporting role, that can so easily become rote or formulaic. She charts Nancy’s journey, from feisty but doe-eyed youth to a woman who quietly yet confidently asserts her own independence and self-worth, with real gravity and dimension. Ana Villafañe, meanwhile, is similarly excellent as Ava Gardner – radiating raw Hollywood charisma and sex appeal, whilst still managing to find poignancy and even some timely pathos, with reminders of how the studio system placed such a stranglehold on the lives of its female stars. One of Villafañe’s later scenes, where she frankly sets out her reasons (and lack of choice) for a medical procedure she undertakes, is all the more devastating and eye-opening by dint of it being played out in such a matter of fact, no-nonsense fashion. Sinatra the Musical does some powerful things with its leading ladies and their very separate – yet often complimentary – plights.

Yet precisely nobody will be surprised to learn that the star of the show is undoubtedly Tony-winner Matt Doyle in the leading role. He has a superb ensemble around him, and fantastic supporting turns, as mentioned, but Sinatra simply wouldn’t work if its incarnation of ‘old blue eyes’ himself wasn’t up to scratch. Doyle treads a masterful balance between channeling the flourishes and vocal inflections of Sinatra, his charismatic, earnest turn coursing with ‘Frankie’s’ trademark charm to spare, without reducing it to straight-up imitation or a glorified tribute act.

“…a dream of a performance that serves as the production’s (rightful) crowning glory.”

Doyle expectedly sings a dream – including show-stopping finales of both acts – and you realise early on that even big asks such as ‘That’s Life’ and ‘I’m Gonna Live Till I Die’ are in fine hands (lungs?). Sinatra registers as a person, as a character, rather than just a simulacra, and it’s a dream of a performance that serves as the production’s (rightful) crowning glory.

There’s probably a tighter, perhaps even slightly more consequential, version of Sinatra’s story that could be tweaked, pulled and plumbed from what is currently found in Sinatra the Musical. But for an all-new offering, with truly heady expectations heaped on it from name recognition alone, Marshall and Dipietro’s production is a polished, routinely impressive affair full of swagger, big band energy, and a rich collection of stunning performances. On the shoulders of a barnstorming turn from its leading man, it is a sumptuous, satisfying dip into the life of one of the most iconic and beloved entertainers of all time, and if this is just the beginning, then yes, we’re going to go there…

…we’ve a feeling that for this glitzy, impressive delight of a show, the best is yet to come…