Review: Gateway's 'Donna Summer Musical' Is a Celebration of the Disco Diva

The Gateway is known for presenting shows with near-Broadway levels of spectacle, and their latest production, Summer: The Donna Summer Musical, is practically cheating to accomplish that.

This essentially is the licensed Broadway show scaled to fit the Gateway Playhouse stage, with Jenny Laroche, who starred in the Broadway production and was associate choreographer for the first national tour, stepping up to the role of director, and Kylie Rae, also from the Summer national tour, now serving as assistant director and choreographer.

What’s wild about Summer, a show that offers a nuanced and raw look into Donna Summer’s evolution from ugly duckling to disco queen to iconic diva, is that up until now, the story had never been told from a female director’s perspective. The Gateway production truly benefits from the personal touches made by Laroche and Rae, and their attention to emotional realism can be felt throughout the show.

Summer opens with a performance of “The Queen Is Back” taking place in one of Donna’s final shows, and the audience gets swept up in the fun and nostalgia of the music right out of the gate. When the song concludes, Donna reveals that the audience isn’t in for a two-hour concert re-creation. Rather, their tickets are for a jukebox musical that jumps between the high points and lows of Donna’s personal life and career, broken into three different eras, with three actresses playing Donna.

The character of Diva Donna is the one who opens the show and acts as the narrator reminiscing about her life. Renee Marie Titus has such a strong, inviting aura about her that it seemed a shame when she revealed that she wouldn’t remain with the audience through the entirety of the show, not as Donna anyway. She slayed her renditions of “I Feel Love” and “Friends Unknown” with powerful vocal performances, and in her speaking moments, she embodied the diva with elegance and sincerity.

When the next Donna takes center stage, Titus transitions into the role of Mary Gaines, Donna’s mother, opposite Christian Brailsford as father Andrew Gaines. It’s an interesting choice to have the title character double as a side character, but within the context of the show, it’s well executed as a way for Diva Donna to try to guide her younger self with the gift of hindsight, and to get more time onstage for Titus.

If only one Donna can be considered the main character of Summer, that would undoubtedly be Disco Donna, portrayed by Afra Hines. With the majority of the musical taking place in the 1970s during Donna’s rise to fame as the “Queen of Disco” and subsequent dissatisfaction with the title, this young adult incarnation of Donna has the most songs and story beats, as well as the most time to struggle, grow and overcome before the audience’s eyes.

Titus is a tough act to follow, but Hines’ portrayal of Donna provides rich layers of emotional complexity — beautifully capturing the naivety of an up-and-coming star, the passion of a romance with golden-voiced guitarist Bruce (Carmine Mastrokostas), the heartbreak of missing her daughter’s early childhood, the terror of being home alone with an angry ex, the confidence of a diva in the making.

Hines’ singing style stands out from her older and younger counterparts to better capture the provocative sound of Donna’s early records. This is best displayed during her introduction singing “Love to Love You Baby,” but her vocal quality, and impressive dancing skills, shine brightly in numbers like “Faster and Faster to Nowhere,” “Bad Girls,” “I Believe in Jesus” and “Hot Stuff.”

Finally, there’s Duckling Donna, played by Grace Capeless. Though the character is the youngest and least experienced of the Donnas, Capeless proves to be an unexpected powerhouse vocalist. Her big solo number, “On My Honor,” is moving and expertly performed, and she dazzles in duets and trios such as “I Remember Yesterday,” sung with her young sisters (portrayed by Victoria Price and De’Ja-Simone Crumpton), and “Pandora’s Box,” sung with Disco Donna.

There are so many classic Donna Summer songs packed into this two-act show, several of which are large, thrilling dance numbers where the ensemble gets to show off their expertly choreographed moves. “She Works Hard for the Money” and “Last Dance” are rightfully some of the biggest spectacles the show has to offer, and audiences can look forward to “White Boys,” “On the Radio,” and other exciting renditions featuring music direction by Anthony Brindisi.

The supporting cast was a joy to watch — from John Rochette and Jessica Lorion as Donna’s Casablanca Records managers, to Nia Simone Smith and Gigi Lewis as her adult sisters. Dan Teixeira gave an especially spirited performance as Brian, Donna’s friend from Casablanca.

The costuming by Janine Loesch cleverly kept the three Donnas dressed in fabulous blue outfits, up until the finale number, representing their respective eras and keeping them distinct from the rest of the disco-dressed cast. Emma Estelle Beneck kept the wigs and makeup on fleek, and Brittany Loesch curated the period-accurate props. And the show couldn’t run as smoothly as it does without Cassiel Fawcett, Kim Hanson and Jonah Verdon managing the stage, lighting and sound, respectively.

The Gateway’s Summer: The Donna Summer Musical is an absolute blast for fans of the icon, but even for those unfamiliar with her story or music, it’s an entertaining exploration and celebration of the disco diva.

The show runs through Sunday, July 16 at The Gateway Playhouse in Bellport. For tickets and more info, call 631-286-1133 or visit thegateway.org.