'Beehive The 60's Musical' Brings Big Buzz to Foothills Theatre Company

"BEEHIVE The 60's Musical " Brings Big Buzz to Foothills Theatre Company

"Beehive"
Created by Larry Gallagher
Director & Choreographer: Russell Garrett
Musical Director: James Valcq
Scenic Designer: Sean Martin
Lighting Designer: Jeff Adelberg
Sound Designer: Ed Thurber
Production Stage Manager: Steven R. Espach

The Cast:
Trish Aponte
Gretchen Goldsworthy
Marcie Henderson
Rebekah Jacobs
Alisa D. Miles
Alena Watters
Performances now through October 23 Box Office: 508-754-4018

There were three very good reasons not to be sitting in a theatre on Sunday afternoon. It was an absolutely glorious early autumn day, the defending Super Bowl Champion New England Patriots had a one o'clock kickoff, and the Boston Red Sox were playing their final regular season game against arch-rival New York Yankees with the hope of securing a playoff spot. But I didn't mind because I was treated to close to two hours of total enjoyment watching and listening to the six women who are performing in "Beehive The 60's Musical " at Worcester's Foothills Theatre Company.

From the opening sound clips of 60's music and news, the audience was transported to the days of the "girl groups" and their beehive hairdos. The capri pants clad performers cleverly introduced themselves to the words of "The Name Game" ("Marcie, Marcie, bo-Barcie…") and showcased the synchronized choreography which was present throughout. Every one of these women was a triple threat (treat?) who could sing, dance, and emote. As familiar as the songs were to audience members of a certain age, they were sung with a freshness and vivacity that made them sound new.

The first part of Act I featured each of the singers' individual talents, backed up by the other five on a rotating basis. As one great song led into another, we heard the sassy Trish warn "My Boyfriend's Back", sweet-voiced Marcie moon over her"Sweet Talkin' Guy", and diminutive Rebekah belt out "One Fine Day", a Gerry Goffin/Carole King collaboration. A few turns later, none other than Diana Ross and The Supremes took center stage for a trio of Holland, Dozier, Holland hits. The mugging that went on as Trish and Alisa played Flo and Mary to Marcie's Ross was quite the send-up of what had to be a great deal of professional jealousy among the members of that group. Ross was overplayed to the hilt by Henderson and had to be literally dragged off the stage.

In the next montage, Alena was the mournful Lesley Gore, Gretchen was a gum-snapping Connie Francis, and Rebekah played a robotic Brenda Lee. The latter two were attempting to comfort Lesley because her boyfriend was two-timing her at her own party. When Lee said something which upset Lesley, she then broke into the song "I'm Sorry" and the audience broke into laughter. Moments later, Annette (Trish) bounded onto the stage wearing a bathing suit and mouse ears and toting a surfboard. The sketch wrapped up with Gore's two other big hits ("You Don't Own Me" and "Judy's Turn to Cry") and Connie's megahit "Where the Boys Are". They looked like they were having a lot of fun with it and so did we.

Act I concluded with the British Invasion. While the Beatles and Rolling Stones were in the forefront, the women were well-represented by the likes of Petulia Clark ("Downtown"), Lulu ("To Sir With Love"), and Dusty Springfield ("Wishin' and Hopin'", "You Don't Have to Say You Love Me"). The height of the hairdos came down and the political content of the songs went up as Trish and Company sang us into intermission with the Sonny and Cher hit "The Beat Goes On".

After the break, Tina Turner appeared in a very short, fringe-laden chartreuse shift, backed up by two singers in very short, fringe-laden hot pink shifts. They had tremendous energy and sang with great power and did "Proud Mary" proud. When the stage lights went down and the costumes were illuminated by blue light, it was something special to see the fringe flying. Whew!

As the tenor of the country changed with the final years of the decade, so did the music. Then 15-year old Janis Ian's controversial song of interracial love was given a beautiful rendering by Gretchen so that it was still powerfully moving some 40 years later. An Aretha Franklin set featuring Alisa and Alena blew me away. They both sang their hearts out on "Natural Woman" and "Do Right Woman" in a masterful duet. It was an interesting juxtaposition to follow those belters with the raspy, untamed voice of Janis Joplin on "Piece of My Heart" and Gretchen portrayed her spirit, right down to the ever-present bottle of Southern Comfort. The alcohol of Joplin morphed into the drugs so pervasive at Woodstock. Trish sang Grace Slick's metaphorical "White Rabbit" as the other members of the Company acted out the 60's peace, love, and drugs scene around her.

After the musical travelogue, the Mama Cass hit "Make Your Own Kind of Music" was a fitting and joyous ending tune. Rebekah wore her hair down, long and wavy, as her sisters from the earlier years of the decade joined her on stage. It showed us how far we have come from the girl groups in their beehives, to the hippie women of Woodstock, to the rockers of today who can wear their hair any which way they please – even bald!

The costumes and choreography were most evocative of the times and augmented the mood, from light and frothy at the beginning to "heavy" at the end. All of the women were capable dancers, but a special nod to Alena Watters who took it up a couple of notches. If I had one complaint about the choreography, it was just a bit too reliant on the shimmy. But, man, could they shimmy!

"Beehive" is a throwback to a simpler time and simpler style of music than we live with today. We can't go back, but it sure is fun to let the swarm of songs buzz around your head for a couple of hours. Even if you happen to be allergic to bees, my advice is to see this show. It's worth the chance!

www.foothillstheatre.com

Pictured L-R: Alena Watters, Gretchen Goldsworthy, Rebekah Jacobs. Trish Aponte             

Photo by Trina Holub