“Shout! The Mod Musical”
CityStage
through October 21
By Barbara Stroup
“SHOUT ! The Mod Musical” opened at CityStage to long and well-deserved ovations. President Cynthia Anzalotti chose this colorful celebration of the ‘60s show to mark the beginning of the theatre’s 10th anniversary year.
Five amazing ‘girl’ singers populate the stage throughout the no-intermission and high-energy production - they are named only by the colors they wear. These talented performers bring just the right sensibility to the production’s 30 songs of London’s mod ‘60s as they sing in solos and in varying ensemble combinations. Director Jay Falzone’s choreography never overtakes the music and none of the songs go on too long. Four decades later we hear a sameness to these rhythms and orchestrations, but the production’s volatility overcomes it. These athletic performers are having fun with the music and although it took a while, the audience soon caught on to the humor.
Weaving these songs together into a coherent whole are a few recurring plot substitutes – a large “SHOUT” magazine reveals the year on its back cover and gives the girls insights into mod culture. Off-stage, advice-giving voices preach put-down answers to universal relationship questions.
While referencing the best of mod London’s music, the production refuses to take the ‘60s too seriously. In fact, the lyrics are often mocked by literal stage movements – ecstatically so in one case. One-liners delivered in the style of television’s “Laugh-In” give us even more opportunity to laugh. One awkwardly serious moment comes up toward the end; it reminds us what happens to some women in every decade behind doors that hide the abuse of power and violence. But the mood quickly turns light again with a nostalgic “Those Were the Days,” and the audience sings along until the show’s terrific finale and curtain calls.
This reviewer would love to have seen this production with live musicians. These talented women deserve the opportunity to interpret the songs beyond what’s available with a pre-mixed, back-up recording. First night glitches in the sound and miking will surely disappear. For an ensemble that probably saw the theatre for the first time that afternoon, Wednesday night’s opener looked polished and practiced. Anzalotti greeted the audience like old friends who all seemed happy to be kicking off a new season at CityStage -- “Downtown!”.
through October 21
By Barbara Stroup
“SHOUT ! The Mod Musical” opened at CityStage to long and well-deserved ovations. President Cynthia Anzalotti chose this colorful celebration of the ‘60s show to mark the beginning of the theatre’s 10th anniversary year.
Five amazing ‘girl’ singers populate the stage throughout the no-intermission and high-energy production - they are named only by the colors they wear. These talented performers bring just the right sensibility to the production’s 30 songs of London’s mod ‘60s as they sing in solos and in varying ensemble combinations. Director Jay Falzone’s choreography never overtakes the music and none of the songs go on too long. Four decades later we hear a sameness to these rhythms and orchestrations, but the production’s volatility overcomes it. These athletic performers are having fun with the music and although it took a while, the audience soon caught on to the humor.
Weaving these songs together into a coherent whole are a few recurring plot substitutes – a large “SHOUT” magazine reveals the year on its back cover and gives the girls insights into mod culture. Off-stage, advice-giving voices preach put-down answers to universal relationship questions.
While referencing the best of mod London’s music, the production refuses to take the ‘60s too seriously. In fact, the lyrics are often mocked by literal stage movements – ecstatically so in one case. One-liners delivered in the style of television’s “Laugh-In” give us even more opportunity to laugh. One awkwardly serious moment comes up toward the end; it reminds us what happens to some women in every decade behind doors that hide the abuse of power and violence. But the mood quickly turns light again with a nostalgic “Those Were the Days,” and the audience sings along until the show’s terrific finale and curtain calls.
This reviewer would love to have seen this production with live musicians. These talented women deserve the opportunity to interpret the songs beyond what’s available with a pre-mixed, back-up recording. First night glitches in the sound and miking will surely disappear. For an ensemble that probably saw the theatre for the first time that afternoon, Wednesday night’s opener looked polished and practiced. Anzalotti greeted the audience like old friends who all seemed happy to be kicking off a new season at CityStage -- “Downtown!”.
Labels: citystage, greater springfield, musicals, shout, theatre
