Playwright: Many. At: Marriott Theatre, Lincolnshire, Tickets: 1-846-634-0200; $40-$48. Runs through: Aug. 14
What's not to like about Shout!? This colorful and joyous revue celebrates the chick singers who dominated 1960s pop music, in particular Brit chicks Petula Clark, Cilla Black and Lulu, the 1960s quintessential big-hair stars. It features five full-throated girl singers who perfectly capture 1960s-pop style, backed by seven agile dancers (the program lists nine, so they must rotate), an excellent ensemble company
There's no plot to this astute reworking of a 2006 Off-Broadway show, although director/choreographer Rachel Rockwell says the theme is love, and the songs follow a woman's journey from first love to self love. I can see that when I review the 30-plus songs delivered in a smart 90 minutes, but the concept never overwhelms (and that's good). Rockwell's best renovation of the earlier work is to cover American territory as well as Brit turf, dropping the original sub-title, "the Mod Musical."
The 1960s were a great music era when the innocence of doo-wop and early rock came under the influence of Early Motown, jazz and r&b, and before Acid Rock and Heavy Metal emerged. The Marriott production covers almost all the waterfront and covers it well, missing only a few iconic hits such as "Where the Boys Are" (Connie Francis, 1960).
The Marriott design team gets into the spirit as well, turning the in-the-square stage into a Parcheesi board of flowers and vaguely psychedelic lighting patterns (Thomas M. Ryan, scenic, and Diane Ferry Williams, lighting). As always, the Marriott sound design is superb with a real presence to the voices, not disembodied vocals coming from speakers (Robert E. Gilmartin, sound). But the spectacle star is costume designer Nancy Missimi. She begins with her nine chicks (five singers and four dancers) in Popsicle-colored mini-dresses and knee-high white boots (and big hair, natch) and has them progress by the end into stunning, geometric-patterned variations on black-and-white cocktail dresses and formal outfits. The three male dancers wear far less flashy outfits, but many readers of this paper will appreciate their butt-hugging trousers.
As always, the Marriott band is under the sure baton of Patti Garwood with wonderful orchestrationslots of horns and baritone saxby the always-reliable Marriott veteran David Siegel. The musical arrangements kick ass for sure, yet remain always understated and tasteful as does the entire show. Since the 1960s weren't always tasteful, this is something of a surprise. However, maybe it's only by contrast to the far-less-tasteful styles of the present decade.
Some highlights include "Goldfinger" with jazz vocalese accompanying an apache dance duet, the vocal duet "All I See Is You," a pairing of "Georgy Girl" with "Windy," another pas-de-deux danced to "Son of a Preacher Man" and the title tune itself. Go see Shout! You'll enjoy.
www.marriotttheatre.com