Licensing Company: MTI
Shout, The Mod Musical
This mod musical brings back the beautiful birds and smashing sounds that made England swing in the ’60s.
This licensed version was created in 2009 for the secondary licensing market.
This show is orchestrated to be player-conducted from the Keyboard 1 book. This show has a very small orchestration with just 2 keyboards and a drummer/percussionist. Both keyboard books have moderate amounts of programming to help achieve the sounds of the 60’s.
Keyboard 1 is the MD/Conductor book and is primarily piano but in several songs there are additional sounds and instruments such as Steel String Guitar, Fender Rhodes, Electric Bass, Organ, and Harp. It is not a technically difficult book but will likely require an advanced pianist comfortable with rock grooves.
Keys 2 is much more heavily programmed with around 100 patch changes throughout the show. Most of the book is just Electric Pianos, Organ, Guitar, and Bass with occasional Percussion elements, Mallets, Brass, and Strings. Like Keyboard 1, it is not technically difficult but will require someone comfortable playing rock/pop grooves and that can navigate the programming.
Although the programming was originally done on the physical keyboard itself, KeyboardTEK has faithfully recreated each and every sound from the original Fantom X8 in Mainstage.
ORIGINAL MUSICAL EQUIPMENT USED
Roland Fantom X8
ORIGINAL KEYBOARD PROGRAMMER
Original Keyboard Programming by: Bradley Vieth
With its irresistible blend of hip-swiveling hits, eye-popping fashions and outrageous dance moves, SHOUT! The Mod Musical takes audiences back to the music, style and freedom of the 1960s. Created by Phillip George and David Lowenstein, SHOUT! features terrific new arrangements of such classic tunes as “To Sir with Love,” “Downtown,” “Son of a Preacher Man” and “Goldfinger.”
The review follows five groovy gals as they come of age during those glorious days that made England swing. Traveling in time from 1960 to 1970, SHOUT! chronicles the dawning liberation of women, from the rise of Dusty Springfield, Petula Clark and Cilla Black as independent women with major careers, to their American counterparts, redefining themselves in the face of changing attitudes about gender. With a shimmy and shake, the songs are tied together by hilarious sound bites from the period – from ’60s advertisements to letters answered by an advice columnist who thinks that every problem can be solved with a “fetching new hair style and a new shade of lipstick.”