When “Hair” first opened on Broadway in 1968 it created a buzz among theater-goers and critics, and not just because it featured a brief moment of full nudity late in its first act. Created by Gerome Ragni and James Rado (book and lyrics, with music by Galt MacDermott), “Hair” was the first concept musical as well as the first Broadway hit that celebrated rock and the counter-culture that had always surrounded that form of popular music.
As popular as “Hair” was on Broadway and throughout the world when it first opened, and as popular as revivals of it are even now (it enjoyed a very successful Broadway revival in 2009), it had only been performed once (in 1976) at Sacramento’s Music Circus before it was scheduled again last week (in the Wells Fargo Pavilion). Perhaps its radicalism is deemed too severe for the staid and conservative audiences that have made Music Circus as popular in its 65th year as it has ever been.
But last week’s production, masterfully directed by Glenn Casale and performed before sold-out audiences (many of whom were single-ticket buyers), might suggest that the show should be reprised more often. At least, it should be if as vibrant and talented a cast can be assembled as graced last week’s stage.
Among the standout performances in the 24-member ensemble cast were those of Oliver Thornton as Claude, Peter Saide (Berger), Laura D’Andre (Sheila), and Bryonha Marie Parham (Dionne). James Michael Lambert (Woof), Stephanie Micko Cohen (Jeanie), and Omari Tau (Hud) were also impressive, as were the others in the “tribe” who sang and danced throughout the two hour performance.
As a concept musical, the storyline is light, almost to the point of being non-existent. That fact takes some getting used to if you’re seeing the play for the first time, or, like us, haven’t seen it for a long time. The first act consists primarily of a string of short songs that feature individual members of the “tribe.” Each is his or her own stereotypical hippie of the era with his or her own issue or cause.
Over the course of the first act, the songs touch on the various elements of the counter-culture that are addressed again in the second act. These include the sexual revolution, the anti-war movement, long hair, drugs, racism, sexism, the environment, and religion (Buddhism and Hare Krishna positively, Catholicism not so much). The first act also contains the aforementioned shocking display of nudity, which Mr. Casale included in last week’s production. It was well staged with dim lighting that allowed clear views without suggesting any erotic appeal.
The second act has more thematic substance to it, centered on the issue of whether Claude will honor his draft notice or burn his draft card. The act is enlivened by an extended “trip” of sorts that the members of the tribe take, courtesy of a drug Berger distributes to all of them. During that trip, Mr. Casale made excellent use of video projections on the back walls of the hall that showed scenes of the youthful rebellion and Vietnam War protests of the period.
Among the musical highlights in this excellent production were the opening “Aquarius” by the ensemble, “Hair” (Mr. Thornton, Mr. Saide and the ensemble), “Easy to be Hard” (Ms. D’Andre), “Good Morning, Star Shine” (Ms. D’Andre and the ensemble), and the uplifting “Let the Sunshine In” (Mr. Thornton, Ms. D’Andre, Ms. Parham and the ensemble) that ends the production.
The musical direction by Dennis Castellano featured a strong 9-piece band that included two guitars and two trumpets. The choreography, at times robust, was arranged by Dana Solimando. Costumes (those worn by the actors—many in the audience fashioned their own) were designed by Mark Koss. Scott Klier designed the sets, which were a celebration of hippiedom. Hair, wig and makeup designs were by Christine Conklin. All added immeasurably to the success of this very well executed paean to rock’s idealism and the generation that embraced it.
Saw Hair twice, in teh 70s. A traveling company came through PDX and
there was a long running resident company in Seattle. Both were many years after Hair had rocked Broadway.
Recently saw the Cowsils (yes
they’re still touring, and yes, all are on Medicare) perform the title song.
The Broadway version opened in 1967, the same year as the “Summer of Love.” Both reflected similar bogey men (The Vietnam era Draft) and ideals (Sex/Drugs/Rock-n-Roll) and of course long hair. As a balding guy, I’m kinda grumpy about that last item, but the rest of the package looks good.
Of course we’ve also seen revolutions in race and gender issues. A lot has changed, much of it great, and a lot will change, most of it will be good because in the free market of ideas good ideas usually dominate. One possible exception is Sriracha Sauce – I’ve never understood the popularity of that idea.