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LIGHTNING REVIEW: 'Beehive' channels the Sixties

Danyel Fulton is among six singers who star in ‘Beehive: The ’60s Musical’ at Flat Rock Playhouse. [PHOTO BY SCOTT TREADWAY/Treadshots]

A healthy dose of Girl Power awaits patrons on the Flat Rock Playhouse Mainstage in Beehive, the musical revue that showcases the songstresses of the 1960s. The era is viewed largely through the eyes of singer Shaleah Adkisson, who reminisces about teen life during that time.

Five other top-notch singers join Adkisson in the Beehive cast, along with a crackling six-piece band that gives us a hint of what’s to come in the overture that nimbly runs through a medley of the decade’s hits.
In the early ‘60s, girl groups were the rage, with traces of doo-wop hanging on, and a double-time gospel beat influence. By the end of the ‘60s, female solo artists took the spotlight — Janis Joplin, Tina Turner, Aretha Franklin — and the influence of rock’n’roll was felt heavily in the music.
Opening with “The Name Game,” the singers worked the crowd for volunteers. Adkisson framed musical numbers with historical references, recalling the loss of innocence she felt upon first hearing about JFK’s assassination. And though it was a big deal to her when Sandra Dee got married, it was pure heartbreak that the actress took Bobby Darin off the market.
Alexis Sims showed off beautiful vocal inflections while recreating The Chiffons’ “One Fine Day.” The singer was also stunning as Diana Ross, even as the show took a decent shot at the breakup of The Supremes (“Where Did Our Love Go?”), and their leader’s selfishness (“Come See About Me”) in going solo. “I’ll always have a special place in my heart, for…ME,” she sighs, plugging Mahogany on her way offstage.
Merrill Pfeiffer channeled the strength of Lesley Gore, on the bittersweet “It’s My Party,” then on Gore’s provocative and liberating anthem, “You Don’t Own Me.” Galen Crawley got things all gushy again singing Connie Francis’ “Where The Boys Are.”
Act Two opened with a slow, poignant version of Sonny & Cher’s “The Beat Goes On,” featuring Adkisson, Sims and Fulton decked out in mini-skirts and knee-high white boots, singing like angels. Memories of Martin Luther King’s march in Birmingham ended with Adkisson simple question: “How can people object so much to peoples’ basic civil rights?”
Adkisson fessed up to a crush on Paul McCartney while talking about the British Invasion — the Beatles, Stones, Dave Clark Five, Hollies, etc. “After that no one cared about the girl groups,” she said. But England had female reinforcements in the wings — in singers Dusty Springfield, Petula Clark and Lulu.
Danyel Fulton is spectacular as Patti Labelle (the stirring “I Sold My Heart To The Junkman”), and as Tina Turner (“Proud Mary”) she delivers all the mannerisms — the shimmy steps and the side-looks — as well as the rasp and the sexy mid-song rap. Fulton also brought out the soul power of Aretha Franklin’s “Respect.” Recalling an Aretha Franklin show at Joe Louis Arena in Detroit, Adkisson noted the singer’s important role in advancing women’s rights.
Janis Joplin also represented “a certain freedom” to Adkisson. Nicole Winter, with feathers in her hair and covered in macramé, belted out Big Brother & the Holding Company’s rocking “Piece Of My Heart,” and put a soulful take on Joplin’s “Try.” Guitarist Bill Altman met Joplin center stage to fire off some blues-rock licks, as the singer nodded, “Yeah, man.” (Just a thought -- it would be fun to see wardrobe and makeup spend some time with the band.)
Beehive works on a couple levels. The songs are timeless and the cast is more than up to the task of bringing them to life. And especially in this year, when America is closely considering its first woman president, the show presents an interesting and inspiring perspective on a pivotal decade in our nation's history.

'Beehive: The ‘60s Musical' runs on the Flat Rock Playhouse Mainstage through Oct. 30. For tickets visit www.flatrockplayhouse.org.