The Milwaukee Repertory Theater takes its audience for a nostalgic spin into the past with Beehive: The 60s Musical. As its light-hearted title suggests, this show is much more about teen romance than it is about the decade’s more tumultuous aspects. The show is being staged in the theater complex’s intimate cabaret, which enhances this bill of fare.
The soft glow of artificial tea candles sitting on rows of cocktail tables is an ideal environment for this production, which was created by Larry Gallagher and directed by Laura Braza. Much of the first act is set in a school gym, where Baby Boomer audience members probably encountered some of the early 1960s hits presented here. The angst of teen love is offered by tunes such as “It’s My Party,” “Sweet Talkin’ Guy,” “Where the Boys Are,” and “You Can’t Hurry Love” by the Supremes (one of this reviewer’s personal favorite presentations). Other girl groups represented here include the Shirelles (“Will You Still Love Me Tomorrow”) and the Ronettes.
A sextet of young women, all fashionably dressed in costumes from the era, display a parental-approved version of their fashion sense (costumes by Jason Orlenko). A couple of the women sport not-quite-complete beehive hairdos, while there are also variations of “the flip.” One of the women steps forward to briefly act as a narrator, but her dialogue is minimal.
The early songs are as innocent as the women’s outfits. The versatile and talented singers take the audience smoothly through the show’s 34 songs. Their dance moves are as professionally executed as the vocals, with a nod to some of the era’s popular dances: the twist, Watusi, swim, pony, monkey, etc. (choreography by David P. Roman). The women seem to glide effortlessly around the small stage, with each song showcasing a different performer.
Under the music direction of Tom Vendafreddo, the women sing to a pre-recorded tape. Thanks to sound designer Erin Paige, the show’s music simulates the feel of a “live” performance.
While frequent lighting changes (by Caitlin Smith Rapoport) provide some visual variety for the audience, it would have been nice to introduce some costume changes during the long first act of this 90-minute show.
Thankfully, the second act offers several costume changes, especially during appearances by “Tina Turner” and “Janice Joplin.” Strong vocals are provided throughout the fast-paced show by Jackey Boelkow, Tess Marshall, Jamie Mercado, Desireé Tolodziecki and Amaya White. All have their moments to shine.
But it is Sarah Lynn Marion who belts it out of the park with her impression of Janice Joplin, as she sings, “Cry Baby,” “Try (Just a Little Bit Harder),” and “Me and Bobby McGee.” With very little effort. Marion encourages the audience to sing along to the chorus of “Bobby McGee.” Marion captures Joplin’s every mood and gesture, down to frequent quaffs from a flask she carries inside her “hippie”-inspired outfit. She gives an outstanding performance that is a memorable highlight of this production.
Not surprisingly for this type of “easy listening” show, the more tumultuous aspects of the 60s decade are mentioned only in passing (Vietnam protests, assassinations, the civil rights movement, drugs, the generation gap). Don’t look for anti-war protest songs in this song mix. However, some of these episodes are translated through a soulful rendition of “Abraham, Martin and John.” There are heartfelt, coming-of-age tunes represented in an excellent version of “To Sir, With Love” and the Act I closer, “You Don’t Own Me.”
Beehive is a nostalgic road trip for Baby Boomers of all varieties. It is interesting to see the decade summed up by an all-women ensemble. The Milwaukee Rep does a great job of incorporating all the show’s elements for an upbeat evening of entertainment.
