Back to the '60s

If you missed the swinging ’60s with Mary Quant mini-skirts and thigh-high go-go boots, the gals at Round Barn Productions are bringing back the groove with Shout! The Mod Musical.

The ’60s was a unique culture with its own special language, and Shout! relives the innocence and psychedelia of the era. The musical revue opens for a four-day run on Wednesday, Jan. 7 at C103, formerly Catalyst Theatre.

Created by Phillip George and David Lowenstein, this vinyl time capsule celebrates the era’s torchy ballads and peppy pop tunes of chart makers like Dusty Springfield, Petula Clark, Lulu and Dame Shirley Bassey.

Set in London in the decade from the early ’60s to 1970, it follows the lives of five women. None have a name. Instead the British birds are identified as Orange, Blue, Green, Yellow and Red, and each faces a difficult personal crisis.

Providing a tie-together for all the different songs is a fictional magazine. Throughout the plot, the five women send letters to Gwendolyn, an advice columnist for Shout!, the moniker for the magazine.

“The concept for the play was conceived 10 years ago and it ran off-Broadway and in London. It was used to create the structure for the pop culture of the times,” says Erin Foster-O’Riordan who along with Kristen M. Finlay are the driving forces of this production.

“All five women get an opportunity to tell their story. It’s wonderful as a cast ensemble and we get to do cool work,” said Foster-O’Riordan.

She plays the role of Yellow, the only American in the whole story determined to meet one of Britain’s most revered musicians.

“She’s arrived in London to stalk Paul McCartney,” laughs Foster-O’Riordan relishing the idea of playing a stalker.

In addition to directing, Finlay takes on the role of Orange, a married woman in her forties who suspects her husband is having an affair.

“Her central ambition has been to be a wife and mother, and she’s now in a situation that puts that at risk,” Foster-O’Riordan says.

Monica Roberts, co-founder of Round Barn Productions with Foster-O’Riordan, is the wealthy Blue girl. She is the revue’s fashionista and faces questions about her sexuality.

“She wants to be the face, the cover model of all magazines. She wants to be adored as an icon.”

Lesley Caffaro’s Green girl is described as a “slut” always looking to hook up.

“The character is a natural and she takes the notion of free love to its own special level.”

And finally, Nicole English as Red is the youngest and most hopeful.

“She is the most awkward. She’s not the most coordinated or fashionable. She’s trying to fit into the ’60s mould, but is having trouble finding her niche.”

Each woman embodies a common stereotype we have come to expect.

“They are rooted in the popular culture of the era, but if you were to put different music in the play, they could be part of any decade.”

The songs are straight from the BBC’s Top of the Pops, a music chart television program originally broadcast weekly.

Several showcase tunes range from Don’t Sleep in the Subway, Son of a Preacher Man and Downtown to These Boots Are Made For Walking, To Sir With Love and Goldfinger.

Although the common assumption is that pop songs are simple to sing, the complicated harmonies demand singers to take it up several notches.

“For instance, Don’t Sleep in the Subway has difficult harmonies. We all have different lines. We have to find our line and keep focusing on it. It’s hard but the effect is stunning.”

Musical director and pianist Sally Hunt aided by Tim Maskell (guitar) and Scott McDonald (drums) provide support.

“January can be a depressing lull after the holidays. But this show is colourful and the music is fun. It’s a bright spot at this time of year.”