by Stephen R. Lang

After reading almost every review by all differently types of sources about Beehive I really did not know what to think about this musical.  With all different voices swirling in my head I had to focus just on my own.  All I knew beforehand was that it was a bunch of girls singing 60’s songs.  Ok, I loved Celtic Woman when they came to The Broward Center back in April and thought that I would give it try.  Try was not the word—amazed was I was the phrase. 

This is a musical—in the sense of the fact that there was little talking, but a plot or anything significant of a true musical—it does not have.  What it is is six girls growing up in the 1960’s and the musical that influences, shapes, molds, and defines them from young high school girls to adult women struggling to find their identities in an era of extreme change, social and political upheaval, and love.  They not only sing these songs to amazing clarity but also use the lyrics of the songs as springboards for their messages that they are conveying at the time.  It is important to realize the songs that they are singing are representative of the feelings and thought processes of the country as a whole that trickles down to the individual lives of these girls-to-women.   

Near the beginning of the 1960’s you have songs like Will You Still Love Me Tomorrow and I’m Sorry, which are innocent, fun, non-confrontational, and still light-hearted.  They start off the show with the Name Game and gave me an insight into the actresses performing this show.  What you have to realize is that these women play temporary characters based on whatever song or set they are singing at that time.  It is almost like they are same characters discovering different things about themselves and progressing, but they could be anyone within that time period.  As they age, you can tell the music changes focuses too.  While starting off with the youthful and optimistically hopeful One Fine Day and My Boyfriend’s Back you progress, age, and mature into songs like Where the Boys Are and Downtown and wonder where these girls are thinking they are defining themselves within the changing norm of society.  Women’s focuses went beyond finding a husband right out of high school and into mild self-sustaining “finding yourselves” jobs as secretaries, nurses, and teachers—indicative of the times. 

As the show progresses, so does the fashion, which, to my belief was remarkable and true.  Whatever clothing depot or costume closet stores they received their supplies from were exact and appropriate.  You really need to focus on the changing hemlines and colors to appreciate the fashions we have today, what was appropriate in society, and could symbolize a plethora of different messages.  Along with the fashion, you need to pay close attention to the hairstyles of the moment, how high the beehive was, what the beehive meant, and the size and shape.  As many already know, my roommate is a Drag Queen and self-proclaimed “most beautiful girl in the world” which gives me backstage knowledge of what it takes to make hair achieve death-defying heights, shapes, and textures.  What I did not know, after growing up in the 1970’s was that girls in the 60’s actually used wigs for their everyday life and there was companies that would actually deliver them to local households.  All along I thought all these women had amazing hair and confused as to where it all came from.  Once again, I have looked behind the proverbial curtain and saw the Wizard. 

When the first Act comes to a close, you have grown with these girls into semi-adulthood, with such things as high school graduation aged things.  Act Two takes you into the soul of the 60’s with self-discovery, powerful lyrics, defiance of society, social injustices, and hope.  Chyrlye Anne, who started out the show as a cookie-cutter “gee-golly darn” girl ages and embodies the legendary icon Tina Turner with River Deep and Proud Mary as a proud Black woman.  Jessie Alagna, local singer and face within Wilton Manors karaoke circuit, has a poignant song that defines her representation of a woman.  She informs us that the song Society’s Child was actually banned in some cities and made me cry thinking about my own gay struggle for acceptance.  Ragan Renteria, who is amazing and had the features to play anything from a tan white girl to light skinned black woman has the opportunities that only some have within the theatre—versatility.  Be on the lookout and pay close attention to her clothes and her song Natural Woman.  Kimberly Martins pretty much is the hostess of the show but more like narrator or Tour Guide and tells us background things and fills in the cracks to give fluidity to the show by bridging gaps and showing the connectivity and relevance of all songs. 

I went on a journey with these women, comparing the gay struggle to that of the women’s movement that was just beginning during the 60s.  The entire cast, Shaleah Adkisson, Jessie Alagna, Chyrlyé Anne, Lauren Carlberg, Kimberly Martins, and Ragan Renteria, all played members of a society that now we can discover through music.  As a group I wanted to be friends with them for they showed me different aspects of themselves within the songs they performed that I do not know if anyone else had picked up on.  It is also nice to note that the seat next to me was occupied by the show’s Understudy—Erinn Dearth, who helped me identify cast members by name, explain some of the holes I had in my notes, and reaffirm that every cast member was a genuinely caring human being.  I will definitely be on the look out for all of these women in the future, and, since Chyrlyé Anne has a CD available in the lobby, I now have her autograph.  Thirty years from now expect me to be offering it on Ebay and retiring! 

One of the last things that I want to say about this play is that, when it’s done, you feel like you have gone on a journey with these women, shared the trials and tribulations of their lives and left you yearning to wonder, God, I want someone to ask me Will You Still Love Me Tomorrow? 

This show, Beehive:  The 60’s Musical Sensation is currently running the Stage Door Theatre at 1411 26^th Street in Wilton Manors on Thursdays through Sundays and tickets are $29.  For further information call 954*344-7765 or visit them on the web at www.stagedoortheatre.com.