Phoenix Theatre's Beehive, the 60's Musical
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 5/20/00
(out of )Let's get it clear: Almost always, I hate musical revues. With that said, this production of Beehive is the exception that makes the rule. For every time I've yawned through other compilations, I smiled and clapped my way through this Phoenix Theatre production. This is the first time I've seen this show, and it happens to contain music from an era that I love. That isn't the only reason I enjoyed it, though. There are so many other things to add into the mix, such as five dynamic performers who are nearly perfect in execution. Rick Seeber's perfectly paced direction includes just the right amount of audience interaction. Jennifer George Consiglio's choreography is infectious. The onstage band kicks ass. The designers have created the only place this show could be staged. With these additional offerings, you find an avowed hater of musical revues grinning like an idiot at the end of the evening.
From the cute girl groups of the early 60s, through the women's right's-conscious performers as the decade came to a close, 38 songs by women define the tumultuous decade of Camelot and campus riots. Led by one of the singers, who brings the personal into the development of the script, the show moves from "My Boyfriend's Back" to "Natural Woman." All of the songs are instantly recognizable, and wonderfully presented.
The five women who take us on this musical odyssey can sell every one of the songs, no matter how different their style, or how demanding their presentation. Leader Meloney Collins moves from giggling teenie-bopper to self-sufficient woman while wowing the audience with presentations of "Sweet Talkin' Guy" and a dramatic "The Beat Goes On." Heather Jones is quite a character actress, and can transition between ballads like "Will You Still Love Me Tomorrow" to acting like Petulah Clark presenting "Don't Sleep in the Subway." Her star turn, though, is her psychedelic performance of "White Rabbit." Since her first appearance as Maria in PT's West Side Story, Jeanine Pacheco has blossomed as a performer, and here, she blows away the audience with "You Don't Own Me" and "Natural Woman." Erahn Patton-Stinson is dynamite, bringing spirit to songs like "One Fine Day," and doing a dead-on Tina Turner with "Proud Mary." Finally, though she is consistently off during group dance numbers, Katherine S. Todd more than makes up for it by commanding the stage during her second act "Respect." These five work so well together, and the group numbers that dominate the first act, such as a great take off on Diana Ross and the Supremes, leave the audience singing and laughing in the aisles.
Musical Director, conductor and keyboard player Ron Colvard keeps the six piece band rocking while playing with the performers. The band plays inside a jukebox, and Mike Eddy's rock concert lighting design spans from cutesy to tripping as the era becomes experienced. David Temby's sound design is nearly flawless, while the great, unbilled costume design is a treat. Especially impressive is Stephen M. Miller's make up and hair design, which must have been a nightmare in creation and run, but seemed easily handled.
This kind of theatre can please even the grumpiest of people. When five talented women give their all, and are supported by a management and design team that is as professional as this, it's a joy to recommend this show to everyone.
Production Details:
Beehive, The 60's Musical Originally
Created and Directed by Larry Gallagher
Phoenix Theatre, Phoenix
(602) 254-2151
May 11th - 28th, 2000