BWW Reviews: Bean Mines 60's Jukebox for 'SUMMER OF LOVE'

When it comes to taking a catalog of familiar, era-specific songs, tossing them together with colorful costumes and sets, then weaving an easily digestible story to tie them all together, jukebox musical aficionado Roger Bean has his formula down pat. The creator behind The Marvelous Wonderettes, it's holiday-themed sequel The Winter Wonderettes, The Andrews Brothers, and recent crowd-pleaser Life Could Be A Dream is back at it again, this time with a slew of 60's hippie-rock tunes to shape his new staged hits parade SUMMER OF LOVE, which recently had its world premiere at Musical Theatre West in Long Beach as part of the 2011 Festival of New American Musicals. More endearing than daring, the musical continues performances at the Carpenter Center for the Performing Arts in Long Beach through April 17.

Set in the counter-culture mecca of San Francisco's Haight-Ashbury neighborhood in 1967—when the combination of peace, free love, free thinking, and warm temperatures gave birth to "the summer of love"—Bean's appealing new musical follows the story of runaway bride Holly (Melissa Mitchell), who had just crossed the Golden Gate Bridge on foot to escape her wedding across the bay. Armed with rebellious determination, a purse, and a single suitcase, the young ingenue—still dressed in her stained wedding gown—has abruptly abandoned her suburban trappings and lands smack in the middle of hippie central at Golden Gate Park. "Everything in my life is... beige!" Holly protests to her new, colorful friends.

It's a mutual culture shock for both parties. But, as expected in such unabashedly feel-good Bean collectives, there's inevitable understanding and affection to enjoy all around, as the "Tribe" members school Holly in the pleasures of unbridled self-expression and communal harmony. Naturally, she is wholeheartedly embraced by the flower-powered, peace-loving, make-love-not-war advocates into their make-shift family. They even grow protective of Holly when her jilted fiancée Curtis (Doug Carpenter) shows up to "rescue" her from these drugged-up ne'er do wells.

The Tribe, of course, is a rag-tag group of personalities that easily win the audience's affections. There's Mama (Victoria Strong) who, as the oldest member, is their de-facto, well, mother. There's charismatic River (Eric Anderson), who shares his bed with both pint-size mute Daisy (Katrice Gavino) and sassy Saige (Christine Horn). Also stepping forward: ditzy but lovably kind-hearted Janis (Callie Carson), sweet and funny Coyote (Michael J. Willett), petty klepto Dizzy (Scott Kruse), and gungho Willow (Alyssa M. Simmons). They all travel by colorful VW bus, of course, to gatherings and protests and wherever the food drop-offs come a-knocking. It's a nomadic, unencumbered lifestyle that becomes an attractive contrast for Holly, who strives her best to not allow herself to succumb to the life her parents have already laid out for her.

In between war protests, sex- and drug-induced euphoria, and other character vignettes, Bean (who also directed this world premiere production) has smartly inserted some of pop-rock's most infectious tunes of the decade: everything from Sly & The Family Stone to Blood Sweat and Tears, from The Mamas and the Papas to Jefferson Airplane. Much like the crowd-pleasing hit jukebox musical ROCK OF AGES, the ad hoc plot in SUMMER OF LOVE cheekily serves as a springboard for these great songs, and Bean seems to be having a lot of fun in the dialogue that pre-launches each musical interlude. Enjoyable renditions of songs like "Get Together," "Everyday People," "Spinning Wheel," "Crystal Blue Persuasion," "Piece of My Heart," and "Make Your Own Kind of Music" (which turns into the show's anthem) are a treat to hear. Once the familiar songs start bellowing forth—delivered with amazing gusto by its incredibly talented cast—you can't help but tap your foot or sway your body in beautiful, nostalgic submission.

Being that the musical is set in this specific culture and era—using the music and the vibe associated with the time period—comparisons to the rock musical HAIR is no doubt inevitable. After all, it's still quite fresh to audience members who caught the First National Tour of the energetic, Tony-winning revival a few months ago in either Los Angeles or Orange County. Arguably, though, there's certainly more of an actual plot in SUMMER OF LOVE than its more famous predecessor. But what HAIR oozes abundantly with in terms of raw power and emotional heft, it is less pronounced here, opting instead for a more charming take that's palatable for a wider audience and with a sweeter focus on musical nostalgia. It's a slice of counter-culture life that's safe for grandma to watch and to reminisce about those kooky kids with long hair and questionable mannerisms.

Though it's fair to say that SUMMER OF LOVE doesn't completely eschew some of the era's practiced activities altogether, it certainly does its best to dilute them a bit. Drug use is present, but not so quite in your face. In one of the most adorable moments in the show, Holly gets an impromptu makeover from sweet Coyote, who—without actually saying so—reveals his homosexuality (later, on a communal sleep-in, he spoons with his boyfriend Donovan, played by James May). Perhaps the most risqué subplot here involves a three-way relationship between River, Daisy and Saige (who, herself, objects to having to "share" River), but even this is treated with a safety filter. (An unexpected shudder does get triggered, though: non-speaking Daisy's cherubic features and tiny stature somewhat suggest her to be quite underage, so her "relationship" with River has a slight ick factor that I didn't see coming).

But, of course, SUMMER OF LOVE's absolute best asset—besides its catalog of memorable hits synonymous with the Roger Bean oeuvre—is the show's impressive cast, all of whom singularly and collectively make the show ring with delight. As Holly, Mitchell achieves just the right balance of naïveté and new-found empowerment. Carpenter, as Holly's left-at-the-altar groom Curtis, complements his handsome features with a really splendid voice. I swear, this riveting actor—who recently turned heads in Life Could Be A Dream and Camelot—is on the verge of a star-making breakout role any day now.

As Tribe instigator River, Anderson does a slinky, seductive hippie with great panache. As Rufus, Frank Lawson leads the charge in an awesome rendition of "War (What Is It Good For?)" that, frankly, sounds better than the original. Among the women, Carson, Simmons and Strong all turn in extraordinary characterizations with outstanding musical solos to match. As Coyote, Willett's adorably winning turn is a real standout, enhanced further by some great vocals. And my absolute favorite moment of the show happens during the quiet moment of "Dream A Little Dream," led by Horn's gorgeous solo, marking one of several standout moments she sings in the show. When singing and dancing together as a full ensemble, they are absolutely magical.

Kudos also go out to Lee Martino's fun choreography as well as the wonderfully trippy sets designed by Michael Carnahan (which are further amplified by Lianne Arnold's kinetic projections and Jean-Yves Tessier's lighting design).

Overall, as Bean's latest effort in nostalgia-baiting musical theater, SUMMER OF LOVE is an admirably entertaining show that rightly pushes its best assets—its memorable musical set-list delivered by a vocally-talented ensemble—to the forefront. Being safe and mass-appealing certainly has equity, but deeper, emotional connection with the characters—especially with our two leads—can only help elevate the show to an even greater impact. And though its book could stand more of a jolt in terms of pushing the envelope a teensiest bit further, the show itself already does a great job of harnessing the pre-determined energy of its familiar songs to get the appreciative audience smiling, even just in the opening chords of any given tune. It's certainly not HAIR... but, then again, it really doesn't need to be. It just needs to not feel like a filtered, watered-down version of it.

Photos from SUMMER OF LOVE by Alysa Brennan. Top: River (Eric Anderson) & The Tribe. Middle: Coyote (Michael J. Willett) & Holly (Melissa Mitchell) share a laugh. Saige (Christine Horn) belts her feelings. Bottom: Curtis (Doug Carpenter) tries to win back Holly (Melissa Mitchell).

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Performances of Musical Theatre West's world premiere production of SUMMER OF LOVE continue through April 17, 2011 and are scheduled Thursdays through Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m., Sundays at 2 p.m. An additional 7 p.m. performance has been added on April 10. Tickets start at $30, with last-row seating available at an additional discount. There is a $3 service charge per ticket. Prices are subject to change without notice. Group rates are available for 15 or more.

Musical Theatre West performs at the Carpenter Performing Arts Center located at 6200 E. Atherton Street in Long Beach, CA.

For tickets or for more information, please visit www.musical.org.

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