You won’t find a more exuberant quartet than the singers-dancers at Florida Studio Theater’s Court Cabaret. They’re re-creating how baby boomers brought us into a new era of new culture, and no more so than of music. They punctuate, with every “number,” Richard and Rebecca Hopkins’s chronicle of changes, starting with previously unheeded teenage musical preferences that are wielding influence even today. The show starts with Rock and Be-Bop classics along with songs kids loved. They sang what they heard watching TV: about Davey Crockett, Mighty Mouse, his March, and Bert the Turtle. “School Days” includes warnings about bombs and need to build shelters. The show then follows pleasant concerns like Michael Gray Grieve’s fine portraying of Sam Cook with “What a Wonderful World” or Stacey Harris appealingly justifying seeking “Where the Boys Are”. Alayna Gallo strongly insists “It’s My Party and I’ll Cry if I Want to”, but it’s Chris Anthony Giles who insists “You Send Me” to Stacey. Act I has a set that shows off the quartet’s dancing, including of The Twist, Hully Gully, and the Mashed Potato. It leads into a great introduction to the great singer of influence, Elvis Presley. With “Hound Dog,” “Don’t be Cruel,” and “All Shook Up”, both male singers do credible imitations of The King, including in his appearances with Milton Berle and Ed Sullivan. (That TV influence again!) Act II goes from more Rock and “A Whole Lot of Shakin’ Goin’ On” to a “A TV Theme Song Medley,” a big hit with audiences who identify the names of the shows the songs introduced. Then it’s time for the British Invasion, staring songs by The Beatles, Rolling Stones, Jim Morrison, The Kinks. Giles shines in making great contact with the audience on the American contributions of music to the Sexual Revolution, as does Michael with both singing so well and playing guitar. The distaff side gets in their licks with the two gals boasting of the Pill and Stacey singing “You Don’t Own Me”. Projections highlight the Women’s Movement. In new footgear, Alayna assures “These Boots Are Made for Walking” where she chooses. Both women hit at the men with “Hit the Road Jack.” Space topics, the “Age of Aquarius” and Viet Nam “For What It’s Worth” get covered. In a change of turn, with a folk quality Michael—including on his guitar—leads the three into “Turn, Turn, Turn.” There’s no doubt at this point that baby boomers felt they could change everything, despite killings like that of the Kennedys. So the quartet, on behalf of the years of wonder, offers “Joy to the World.” Susan Angermann has created colorful costumes for the women, beginning with flower-imprinted, wide-skirted dresses and belts of green or pink. In Act II, they shine in outfits entirely of a multi-pastel, large metal-coin-like fabric. The men in each act have dark trousers and complementary colored loose-fitting shirts but with added buttons like jewelry in Act II. All the costumes should please you. So should the lighting that changes color on the curtained background to fit the different moods of the decades and their songs performed. Catherine Randazzo’s direction is smooth. Her blocking is often intricate without seeming so, nicely accommodating Dewayne Barrett’s lively choreography. You’ll get constant pleasure from Jim Prosser’s outstanding music arrangements and his playing of them. Especially if you’re a baby boomer, you may want to relive your Wonder Years more than once at FST.
