Review: ‘SHOUT! The Mod Musical’ a groovy time

Thanks to Madison Smith’s astute direction and the energetic, blast-from-the-past choreography of Jenilee Houghton, the Metropolis Performing Arts Centre’s production of “SHOUT! The Mod Musical” is a whimsical, highly charged nostalgic trip through London’s swinging ’60s.

“SHOUT!” follows the lives of five women ages 20 through 40, who all face relationship situations or, as the narrator says, “all different but one thing on their mind – love.” Each of the five fervently sends sincere letters to advice columnist Gwendolyn Holmes, the voice of the English periodical Shout (which coincidentally happens to be a real United Kingdom periodical for teens). Her advice, a trip to past societal mores, deals with traditional marriage (“no higher aspirations can there be than wife and mother and a new hairstyle”), beauty tips (sagging skin) and recipes for treacle. There are comments on ’60s trends, news and pop culture from pot to the pill.

Created by Philip George and David Lowenstein, “SHOUT!” first appeared on stage as a musical revue at The Duplex in New York City, and then transferred to London in 2004 to the Jermyn Street Theatre, where spoken material was added. “SHOUT!” then returned to New York City for a 2006 off-Broadway run at the Julia Miles Theater for 156 performances before going on tour. “SHOUT!” is more a musical revue than a story-driven musical, although there is a slight trace of the themes of changing attitudes and women’s liberation. It brings back to life the groovy era of mini skirts, white go-go boots, and the pony, with 30 Top of the Pop songs woven throughout: everything from “Downtown,” “Don’t Sleep in the Subway,” “Georgie Girl,” “Wishin’ and Hopin’” to “Shout.”

There’s a lot of humor present, ranging from groaners – “Like my new mini dress? You don’t have to go to Australia to see down under,” to just plain silly, “I tried sniffing coke, but the ice cubes got stuck up my nose,” to the very clever parody of “Goldfinger” turned “Coldfinger.” However, later on, “SHOUT!” goes from light, fluffy fun to a brief gravitational pull down when domestic abuse is introduced.

Kenneth McMullen, music director and keyboard artist, interacts and jives with the five actresses while keeping his onstage band buoyant: David Albright on reeds, Nick Anderson on drums, and Jeremy Montoto on bass. Sound designer Danny Rockett makes sure it all flows smoothly; and the five actresses are body miked. Lighting designer Charles Blunt accents and illuminates Rachel Seabaugh’s stylistic and clean set design of blue, purple and pink platforms, big flowers, and that infamous red British phone box (used brilliantly in Houghton’s choreography). Cindy Moon’s costumes certainly further the personalities of the five characters, and add to the ’60s moods; the appropriate-era pieces and wonderful colors do have some distracting costume fits.

To introduce the five women onstage, the wonderful, welcoming, offstage voice of Meg Elliott (as narrator and Gwendolyn Holmes) begins with the magazine’s survey question: “What color of the modern rainbow are you?” – thus giving the five their character names. Please listen carefully to the traits – especially green and yellow. All five women are talented and powerful vocalists in the key of Petula, Lulu and Mary Ann (and wow can they belt and do so frequently) and are also smooth, peppy, harmonious dancers. Dialect coach Saren Nofs Snyder has done a superb job with the differing UK accents, too – Guildford, Leeds, London.

So, let’s talk about the fantastic five.

Haley Bolithon is Red, the sweet and naive hopeless romantic who carries the Shout magazine out each time for the group’s perusal of articles, ads and pop quizzes. She personifies the Georgie Girl of the group, and you feel a lot of empathy for her character because of Bolithon’s talents. She is, just in a word, superb.

Kelli Clevenger’s Orange really makes you feel her fears of her husband’s cheating and of how her life is progressing. I never doubted her for a second. She is another marvelous singer and a serenely comforting actress.

Carleigh Ray plays Yellow, the American from Cincinnati who is obsessed with Paul McCartney; she’s enthusiastic, expressive and pretty brassy. Another fantastic singer, she pulls off her part well. This is Ray’s first Chicago area appearance, and I doubt it will be her last.

Ashlyn Seehafer, making her Metropolis debut, is Green, the classic racy character always involved with men, and the deliverer of innuendos. She’s zany, free-wheeling, and although she may be petite in stature, she has an enormous vocal range and delicious comedic timing.

Anna Seibert, making her Metropolis debut, is Blue. She is obsessed with poise and beauty, and has some questions about her sexuality. Another powerhouse in the singing department, she also gets to wear the perfect Vidal Sassoon bob.

Whether working solo or in collaboration, these five are forces to be reckoned with. Their energy is nonstop, and wait until you experience “Son of a Preacher Man” and “These Boots Are Made for Walkin’.” The Metropolis’ “SHOUT!” is a trip – an enjoyable, groovy 90 minutes.

• The swingin’ ‘60s found Regina Belt-Daniels swinging all right – on the swings of her school playground. She does, however, know all the words to “Downtown” and “To Sir, With Love” because of terribly bad karaoke, and “Shout” because of too many fun wedding receptions.

IF YOU GO

WHAT: “SHOUT! The Mod Musical”

WHERE: Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights

WHEN: Through June 11, with masks encouraged

COST: $40

INFORMATION: 847-577-2121, Metropolisarts.com