Beehive: The 60s Musical

It's the 60s. You're sitting in your favorite cafe. At the end of your booth is a table-mounted jukebox record selector. You flip through the selections and pick your favorites and drop a nickel into the slot. Now imagine that image ten feet tall up-stage center and you're at The Theater in Old Town's latest offering, Beehive.

The 60s offered a wide range of musical styles. Sure, there was rock. It was also the time of  flower children and coffee shops. It was a time of war and protests. Black entertainers went national to all audiences. A president was assassinated. There was a the phenomenon called "Woodstock." There was Tina Turner. And Janis Joplin.  Beehive musically romps with gusto and unimaginable energy. This is a revue, a look into our popular musical past. You're sure to find a song and a vocalist from your past. Or for younger readers, from musical history books. Remember "A Fool In Love" or "The Beat Goes On"? How about "Me and Bobby McGee," "Piece of my Heart," or "Woodstock" - more over 40 songs to bring back memories.

The talented and energetic cast,  Laura Lamun, Emily Mitchell, Renae Mitchell, Lisa Payton-Davis, Colleen Sudduth, and Joy Yandell, prove outstanding, the audience giving them a well-earned standing ovation. They capture the style of the singers of the sixties as well as their stage presence. They sing, dance and act each of their constantly-varying roles delightfully.

For this patron, Joy Yandell's Janis Joplin brings back memories of this tragic entertainer. Yandell has Janis' moves, her unbelievable  mood swings, and her insecurities. She moves the audience with the power of her performance.

One set, which includes Otis Redding's "Respect," has every woman in the audience on  cheering. A Tina Turner set rocks the theater, and the audience becomes a part of the action in "The Name Game."

Director Paula Kalustian helps reveal the character of each performer. Choreographer Jill K. Mesaros moves her cast dramatically and doubles as costumer. We quickly lose count of the costumes, the changes coming at such a rapid pace. Wigs also reflect each particular talent. (The dressing room must be chaotic!) 

Scenic designer Nick Reid presents the audience with a revolving centerpiece -- that 10-foot juke box selector, which also doubles as a stage-within-the-stage. The stage is dressed with huge LPs and 45s (remember 45s?). R. Craig Wolf's lighting design is very showy -- perfect for the production. Musical director and keyboardist, Jasper Grant, along with guitarist Richard Ogden, Oliver Shirley on Bass, and David Rumley on drums, easily transition from one musical style to another.

For a glimpse into that not-too-distant past, Beehive is the perfect vehicle.