Basically a concert show, The Surfer Boys is Brian Noonan’s conception of a tribute to The Beach Boys and an attempt to create music, especially their hits of the 1960s. All but a few of the included tunes are earlier and later. Everything typifies the “Surfin’ USA” introduces the singers with their mix of non-surfing clothing and different physical features that will blend to make the music. There follows one of Beach Boys’s biggest hits, “Barbara Ann” with hot stress on the first syllable of that name. All four men do well by this song, unusual for being by one composer, Fred Fassert.
“I Get Around” allows local references to be put in the lyrics as crowd pleasers. “In My Room” has Bruno Vida effectively expressing loneliness. Of the singers with most antidotes to this, Michael Jayne Walker vocalizes better in “Come Go With Me”, again by a single composer (Clarence Quick), than he does in the rest of Act I.
“Surfer Girl” brings in audience participation that I saw well done by a woman chosen at random. I must admit I am not a fan of this sort of thing, which is a cheap-cruise-ship technique. Here, at least, and by using a man, the woman was not made to be or look silly, as cruise ships mostly do.
A nice medley of songs about cars satisfactorily ends Act I. After intermission, “I Know There’s an Answer” of 1966 brings the four beachy-dressed guys on and then leads into the late 1988’s “Kokomo.” Joe DePietro and Kenneth Quinney Francoeur shine in their interactions and vocalization in these. There’s a bit of a love plot that seems almost like improv throughout. It best comes out in “Wouldn’t It Be Nice” and before a “Surfer Finale.” Five lively last songs from the 1960s appropriately begin with “Good Vibrations.” Sound and lighting are fitting throughout, the latter also creating a back set.
The cast does well with movement in “Do You Wanna Dance” despite lack of a special choreographer. A “Battle Hymn of the Republic” is all that a serious ending should be. Joe DePietro is known for being with groups who promote the Wounded Veterans’ projects and a final encore of “One Day More” is also appropriate here. Performers take contributions for the Vets’ project outside the theater right after the show.
performers’ styles and their era’s concerns, but there’s little drama in the music or snatches of plot.
