Like the titled hairdo, right from the start, most of the music in Beehive is over the top. Its type gets more down to earth in the second half, just like the corresponding '60s years highlighted by bits of spoken infomation. The range is from Claudia Brevis' "Let's Rock" and an audience-participation "The Name Game" to a Janis Joplin-like special and final, "Make Your Own Kind of Music."
Costumes play a major role in transitions in the lives, subjects and styles of a cast that replicate the work of '60s "girl groups" as well as mimicing major women performers. Those who wore cuffed 3/4 jeans with neat blouses and pastel sweaters trade them in at the end of the decade for hippie beads on Native-American types of wider legged suede trousers and vests over belted tunics.
Songs that go over best: Lori Eure's "Will You Still Love Me Tomorrow," Sadrina Renee's "I Hear a Symphony," Laiona Michelle looking and sounding like Aretha Franklin with "Respect," Lauren Feldman's "Natural Woman." Allison Couture does a good imitation of Connie Francis' "Where the Boys Are," and "The Beat Goes On" is led by Michelle Pruiett, as are many of the unsung narrative snippets.
Songs associated with Petula Clark and Lulu recall the British invasion. The rise of the Women's Liberation Movement influences most of the final selections. Both reflecting its mood and contradicting its aims is Lori's excruciating or exhilarating (depending on your tastes) take on Janis Joplin.
