at the Seacoast Repertory Theatre

Each decade brings with it a certain style, and it all seems to begin with music. The free-flowing locks of the 1960s complemented the decade’s flowery hippie rock. The super-stylized frozen-in-place-with-Aqua Net cuts of the ’70s fit well with the then brand new electric synthesizer sound. The huge, puffy hairdos of the ’80s went hand in hand with the poppy sound of the music. And the raggedy, rough cut that became popular in the early ’90s accompanied the arrival of grunge.
Point being, music isn’t just music. It’s fashion, it’s attitude, it’s hair—it’s a whole way of living.

“8-Track: Sounds of the ’70s,” which is boogieing its way across the stage at The Seacoast Repertory Theatre, explores each year of the 1970s, from the tail end of the flower child protests to the “Charlie’s Angels” girl power movement to the bright disco ball party to the aching love songs that make you tear up when the first chords are struck.

A musical review doesn’t have scenes (since it has no dialogue, scenes would be difficult), but the show is cleverly broken down into sections, starting with “Not Sold in Stores!,” which mocks the late-night infomercials that sell 12 CDs for a buck or less. Next comes “Beginnings,” which is made up of songs about the delicious feeling of falling in love. The next section, “War and Peace,” needs no explanation, nor does the fourth track, “The Party!” After a brief intermission, the openers are followed by “Road Trip” (God love you, C.W. McCall), “Disco” and, finally, the explosive and delicious “Denouement.”

Although there are no plotlines or scenes, the singers have their own personalities, which they maintain and mature throughout the show. Christine M. DuLong, known for her tough roles, offers a sharp edged, smooth moving, powerful personality. Megan Quinn is just as strong, but sexes it up (which she pretty much does just by walking onstage) and shows moments of vulnerability that throw audiences back to the moments when they first heard those words. John Pirroni gives us the guy at the party who tries way too hard to be cool—and actually manages here and there. His vocal acrobatics take our breath away, used sparingly and in just the right places.

And then there’s Craig J. Faulkner (triple duty as director, scenic designer and performer) as Mr. Studly, the guy who shows up and things start happening. He’s the guy who talks and people listen; the one with the confidence, intelligence and determination to make the world turn and get the rest of us to help him do it. His voice—trained yet raw, rough and strong—it washes over you like a shower. Sometimes it’s warm, sometimes it’s chilling, but it’s always engulfing.

The show includes partial works by the Eagles, The Village People, Joe Cocker, Queen, Gloria Gaynor and a slew of others. It also features an incredibly appropriate light design by Michael Condon and a brilliant set (literally and figuratively) created by Faulkner, Jillian Mitchell and Tom Sampson. All of this mixed together creates an evening of memories that had most of the audience on its feet, singing along, clapping and dancing, high on the music in a way I’ve never seen.