[NEohioPAL] Review of "Hair" at PlayhouseSquare

[Bob Abelman]

'Hair' revival depicts the aging of Aquarius

 

Bob Abelman

 

News-Herald, Chagrin Valley Times, Solon Times,

The Morning Journal, Geauga Times Courier

Member, American Theatre Critics Association 

 

This review will appear in the News-Herald on 1/20/12

 

"What is so likable about Hair," noted New York Times critic Clive Barnes in his 1968 review of the controversial musical love-fest, "is simply that it is so likable.  So new.  So fresh and so unassuming [with an] authentic voice of today."  

 

Gerome Ragni, James Rado and Galt MacDermot's free-flowing, patchouli-scented portrait of the 1960s created during the 1960s gave the older generation a slightly sanitized taste of the music, drug-expanded mind-set, and sexual freedom of the long-haired hippies they'd been hearing so much about.  Breaking down the theatrical conventions of no nudity, tepid language, and respecting personal space, Hair pushed the envelope when it invaded Broadway while simultaneously offering a group hug. 

 

Returning to Broadway in 2009 and currently on tour and at PlayhouseSquare, Hair is now middle-aged and showing it.  Originally an artistic exclamation point about peace, Hair has become a period piece.  Its enjoyment and relevance are tempered by today's very different youth culture and its political priorities and economic realities.   

 

What Barnes found "fresh" about this depiction of communal living is now nostalgic for those who lived the '60s and a novelty act for those who did not.

 

What Barnes saw as "new" in terms of interactivity, full-frontal nudity and an ear-ringing rock-based score has become normative in the theater.

 

What he believed to be an "authentic voice of today" quickly became Top-40 hits by The 5th Dimension, Oliver and The Cowsills, who forever commercialized the songs "Aquarius," "Good Morning Starshine," and "Hair," respectively.

 

As such, the earthy, organic activity that Barnes saw as "unassuming" over 40 years ago now comes across as choreographed spontaneity performed by young pretenders in their parents' hand-me-downs.  The show's subtitle, "American Tribal Love-Rock Musical," no longer resonates with forbidden counterculture panache, nor does the show itself. 

 

Despite this unfortunate but inevitable aging of Aquarius, the touring company of Hair still offers a production that is as likable as Barnes' barnburner.  

 

Director Diane Paulus' revival radiates blind and unadulterated optimism thanks to an ensemble cast that thoroughly buys into this musical's intended exuberance.  Although the content is no longer refreshing, the performers most certainly are.

 

Charismatic Steel Burkhardt as Berger, the tribal ringmaster and pied piper, personifies the playful, carefree spirit of the era.  Although Cleveland is the last leg of a long national tour (apparent in bass player Frank Canino's complete disinterest in the show, despite an otherwise wonderful and engaged on-stage orchestra), Burkhardt is still a ball of irrepressible energy and the production's key contagion.  

  

Carrying the load of the storyline, such that it is, is understudy Marshal Kennedy Carolan.  As Claude, who stands alone when it comes time to burn his draft card in protest against the Vietnam war, Carolan is immediately accessible and his voice-a bit worn by evening's end of opening night-is lovely and wonderfully expressive. 

 

Phyre Hawkins as Dionne, Ryan Link as Woof, Mike Evariste as Hud, Sara King as Sheila, and Aleque Reid as Jeanie are also standout performers who are featured throughout the musical. However, every single ensemble member adds something unique to the overall fabric of this production and finds rhythm and reason in Karole Armitage's seemingly random, run-around choreography.

 

On Broadway, scenic designer Scott Pask attempted to create the impression that a tribe of flower children had taken over the stage, settled into the space, and claimed it as their own.  No such pretense is evident in the attractive but merely functional touring set.

 

A 1977 revival of Hair ran for only 43 performances, which was an early indication that the musical was a show for its time and not necessarily for the ages. It is clearly the joyous camaraderie and talent of the ensemble that made the 2009 revival a hit and makes the touring production a show worth seeing at PlayhouseSquare.

 

Hair continues through January 29 at PlayhouseSquare's Palace Theatre.  For tickets, which range from $10 to $75, visit www.playhousesquare.com.