Bye Bye Birdie is a satirically corny, upbeat and schmaltzy musical waxing nostalgia about the 1950s. The show was a hit on Broadway when it debuted in 1961 and only grew in popularity with the release of the 1963 Ann-Margret film. It delivers a hefty songbook of toe-tapping tunes including “How Lovely to be a Woman,” “Hymn for a Sunday Evening” and “A Lot of Livin’ to Do,” but some of it hasn’t aged well. Bye Bye Birdie is not nostalgia seen through a contemporary lens – it is of and from its real time.
Director Kevin Hart believes that although pieces of it are dated, it is still deserving of high praise. “This is one of my favorite camp musicals. It’s a sweet, funny show with golden-age music,” said Hart. It does deliver an uplifting message, and with a large cast comprised of children, teens and adults, it offers a chance for all audience members to be engaged in its storyline.
The plot centers around a two-fold dynamic. One is teenage girls swooning over an Elvis-like character, Conrad Birdie, who is leaving for the military and bestowing a goodbye kiss to one lucky gal, Kim McAfee (played by Julia Rolens), in small-town Ohio for a wholesome public relations stunt. The other is a love story between businessman Albert Peterson (played by Elijah Sadler) and his secretary, Rosie Alvarz (played by Bella Gauna), and the thorn that keeps them apart – his racist and narcissistic mother, Mae (played by Lisa Goldbergbelle). This rock ‘n’ roll mania colliding with deeply dysfunctional family dynamics makes for a funny, but sometimes cringy, look at 1960s American culture.
A shining point in this production is the portrayal of McAfee by the exuberantly talented Rolens. She perfectly embodies the character’s quirky, girlish personality and even resembles a young Ann-Margret. Her charming rendition of “How Lovely to be a Woman” is much funnier than the on-screen version because Rolens actually does appear to be 15 years old. She’s the type of performer who draws your attention and will likely have a line of leads in her future.
“Kim is a lot like me, but playing a more mature role has been a challenge because I’ve never had to act like I’m smoking cigarettes before,” said Rolens. Regardless of her inexperience with 1950s teenage rebellion lung-cancer props, she nails the part.
Kim’s friend, the Conrad-obsessed Ursula played deftly by Shelby Cass, also has highly tuned comedic timing. Her characterization is hilarious and reminiscent of Lily Moscovitz in The Princess Diaries. One would never guess she’s 10 years older than the rest of the onstage “teens,” and she leads her Conrad cult with a witty and youthful commitment.
The star of the show, both in plot and presence, is Jakob Hankins in his portrayal of the pelvic-thrusting icon, Conrad Birdie. From his entrance – which is comedically silent and exquisitely timed – Hankins feels larger than life, commanding the stage with the right balance of charismatic swagger and self-absorption. His physical performance is ceaseless: As he continually saunters across the stage, some part of him – from his shoes to his pompadour, is perpetually gyrating. His magnetic control with clear and confident vocals solidifies his performance as a genuine, irresistible rock ‘n’ roll legend.
Part of these actors’ success is due to their period-perfect attire. Female leads Rosie and Kim, who each have multiple costume changes, are dressed especially well throughout. With an enormous cast, this show is a difficult one to costume, and everyone from ensemble to Birdie looks spectacular. This is a feat not often achieved in community theater. Costume designer Jessica Kent deserves applause for her great success here.
Unfortunately, there are some uncomfortable moments – such as an exceptionally long dance break where Rosie performs a watered-down burlesque show for a group of slapstick Shriners. The problem is not with the performance itself, but the fact it is happening at all. This scene is often cut in modern productions, as sensibilities have changed, and it’s understandable as to why. As an audience member, one feels they should avert their gaze or jump in to save her from whatever is about to transpire.
There are lovely singing bits, especially when the McAfee family harmonizes, and it is always a joy to watch groups of kids and teens having a fun time onstage together. Although Bye Bye Birdie struggles to meet today’s societal standards, itworks as a period piece – a high-energy, colorful wink-and-a-nod to a time gone by.
Bye Bye Birdie continues its run Dec. 12-14 at the Hoogland Center for the Arts in the LRS Theatre. Friday and Saturday performances start at 7:30 p.m. and the Sunday matinee begins at 2 p.m. Tickets are available by calling 217-523-2787 or visiting HCFTA.org.
This article appears in December 11-17, 2025.
