Maya CuevaS as Jasmine: Photo: Ann Kielbasa

        Using the same set as the show it plays with in repertoire each weekend, The World Goes Round, designed by Kevin Gleason, it plays on a nightclub dancefloor in front of a traditional bandstand. Andrew Gmoser's lighting design is so very appropriate, never distracting from the intricate combinations Knowlton has conceived. The costumes are character defining and often exquisite in Tiffany Howard's splendid work. The entire production, in short,  works beautifully as it presents, and represents, the 60's America that is defined by the songs. 

Ashley DeLane Burger as Patty; Photo: Ann Loe;basa

        Sadly I am left wondering how much more I would have enjoyed this show had I heard it and not just watched it. Songs like The Name Game, Where the Boys Are, You Don't Own Me and To Sir With Love truly define the decade they're from and they tell a story that could be the subtle center of the piece, but I don't remember all the lyrics and without them to hear I really don't know if there is a book of any sort, even implied here. The second act also started quietly, but sound was sneaked in.  I could hear the show with its 1968 Woodstock setting. I was there in the rain and mud for not quite three days and remember well how Janis Joplin and others emerged through their music. The second act attempts that and does very well what is needed but I honestly don't know what led to it or why. Angle Colonna takes center stage for this brief act and dominates it perfectly.