‘R-E-S-P-E-C-T’ IS WELL-CRAFTED TRIBUTE TO ’60S
Lamb’s Players Theatre’s new musical production pays “R-E-S-P-E-C-T” to the women whose songs and voices defined the sound of the 1960s, from rock ‘n‘ roll and R&B to soul and Top 40 pop. By turns joyous and contemplative, the 90-minute show remembers the icons and the underappreciated.
“R-E-S-P-E-C-T” was created by Lamb’s Associate Artistic Director Kerry Meads and Vanda Eggington, the duo previously responsible for the Coronado theater’s musical revues “American Rhythm” and “Boomers.” This estrogen-powered retrospective is glamorously choreographed by Christine Wisner Hall with costume design by Jemima Dutra that evokes the Supremes’ silken gowns, Tina Turner’s mini dress and Nancy Sinatra’s boots made for walkin.’
The chronicling of women artists in the ’60s is done mostly in song. The ensemble is super-charged: Rebecca Jade, Caitie Grady, Janaya Mahealani Jones, Angela Chatelain Avila, Sydney Joyner and Joy Yandell. Each has her shining solo moments in between the many group medley numbers.
It’s inevitable that attempting to represent the music of so many artists over an entire decade means some audience members’ favorite songs get short shrift, transitioning into another tune just as they get going. But the alternative would be leaving out many women whose contributions were worthy of celebration.
The arc of “R-E-S-P-EC-T” is chronological, beginning with the “girl groups” of the early ’60s: Martha and the Vandellas, the Ronettes, the ShangriLas among them. The arrival of solo performers like Dionne Warwick, Dusty Springfield, Cass Elliot and Tina Turner precedes the “Summer of Love” (Janis Joplin, Grace Slick). Buffy Sainte-Marie and Joni Mitchell reflect the rise of sensitive, socially conscious singer-songwriters toward the end of the decade.
Aretha Franklin, the Queen of Soul, crowns the proceedings.
The strength of this revue is that cast members do not try to impersonate these famous women whose voices are so well remembered and even beloved. The performances are interpretations.
Jones rocks the room when channeling Tina Turner and echoes the depth of emotion residing in Nina Simone’s version of Screamin’ Jay Hawkins’ “I Put A Spell On You.” Always an intuitive interpreter of Joni Mitchell, Grady performs the wistful “Chelsea Morning” and, at the piano, Joni Mitchell’s haunting “Woodstock.” In a thoughtful acknowledgment of women artists besides Simone and Laura Nyro who deserve more r-e-s-p-e-c-t, Grady sings Janis Ian’s at-the-timetaboo song “Society’s Child.”
Both Jade and Joyner do Aretha proud, and, like the versatile Yandell and Avila, are everywhere in this show, spanning moods, genres and flips in fashion.
Illuminating the musical history lesson are projections designed by Lacio Pontes. The women onstage are supported by a steady band (Steve Gouveia, Ben Read, Oliver Shirley and Dave Rumley, who even gets into the act during “Leader of the Pack”).
So … the soundtrack of the ’60s wasn’t just Bob Dylan and the British Invasion and the Beach Boys. It wasn’t just male artists, either. From the songwriter (Carole King, with Gerry Goffin) to the song (“You Make Me Feel Like A Natural Woman”) to the singer (Aretha Franklin), the 1960s was a decade when women in music commanded respect and earned it, too.
Ticket sales are so strong for this show, Lamb’s has announced an extension through March 26.