By Michele Markarian
“Beehive: The 60s Musical”, created by Larry Gallagher. Directed/Choreographed by Ilyse Robbins. Musical Direction by J. Kathleen Catellanos. Substitute Musical Direction by Jim Rice. Presented by Greater Boston State Company, 395 Main Street, Stoneham, through May 7.
“Beehive: The 60s Musical” is not so much a musical, but a terrific revue starring six extremely talented women singing the music of various female artists from the 1960s. While there is no narrative arc other than the social and political struggles of the decade itself as a backdrop, the music and the feelings it conveys are more than enough to carry this entertaining show forward.
The female singers are likened to big sisters – “They understood things about me when no one else did” – something every woman in the audience can relate to. I had my own female singers that I played ad nauseum; my father once threatened to break my copy of Joan Baez’s “Diamonds and Rust”, which eventually left the turntable for Carole King and Patti Smith. While the catalog onstage doesn’t get political until the second act, there are some really strong moments with some of the fluffier numbers. Katie Shults does a gorgeous version of “Where the Boys Are” that sounds better than the original. Kira Sarai Helper handles Diana Ross’s leads with the Supremes with confidence and style. Elizabeth Adabale’s rendition of “One Fine Day” is bold and energetic.
The second act takes a wilder, more urgent turn as the cast stunningly imitates famous singers. Carrie McKnight gives the audience her all as Tina Turner, capturing her essence not just vocally but physically, rising to the challenge of Robbins’s spirited choreography during “River Deep/Proud Mary”. The charismatic Adabale transforms herself into Aretha Franklin, performing a medley of her hits. I had heard that Janis Joplin would be making an appearance, an artistic approximation I had serious doubts about until Bridget Beirne hit the stage in Janis costume, singing “Cry Baby”. This was a vocal tour de force. Beirne also does a mean Grace Slick in “Somebody to Love”. The show ends with a stirring nod to Cass Elliott with “Make Your Own Kind of Music”
The audience is encouraged to sing along, which is nice – all around, there was a soft murmur of music lovers who seemed to know every word. This lends an air of intimacy to the whole experience that’s satisfying. The lively five-piece band radiated enthusiasm and encouragement to the six hard-working women onstage. “Beehive” isn’t a deep show, or a provocative one, so if you’re expecting something philosophical, this isn’t the musical for you. If you love music, love the sixties, and love being entertained, do yourself a favor and see this show. Even if you go alone, music makes friends of us all. For tickets and information, go to: https://www.greaterbostonstage.org
