[NEohioPAL] Berko review: HAIR @ Palace Theater

[Roy Berko]

*No bombs greet this version of HAIR at Playhouse Square*



Roy Berko



(Member, American Theatre Critics Association)



--THE TIMES NEWSPAPERS--

--coolcleveland.co—

--Arts America--



Theatre is representative of the era from which it comes.  Seeing a play
that reflects a specific time period reveals the cultural attitudes of the
people and society of that instance.



Seeing HAIR, “The American Tribal Love-Rock Musical,” gives a vivid film
clip of the 1960s and early 70s in the U.S.  It was the era of the anti-war
movement, rebellion against traditional societal patterns.  It was the time
of sit-ins on college campuses, hippie communes, flower children, pot
smoking, tie-dye wearing, long hair, swearing and public nudity.  It was a
period of rage against the military-industrial complex. It was the time of
a clear generational divide.  If the young people could find a way to upset
their elders, it was the “in” thing to do.



Written by Gerome Ragni and James Rado, the show’s book was put to music by
Galt MacDermot.  Its slim story was based on the authors’ personal
experiences.   It centers on Claude, a member of the hippie community, who
sells out and allows himself to be taken into the Army rather than burn his
draft card or go to Canada. The play concludes with Claude laying in a
death-like pose on an American flag.



When the show first opened, it engendered strong protest.  In fact, on April
25, 1971, a bomb exploded in front of Cleveland’s Hanna Theatre during the
Age of Aquarius show’s run at that venue.



HAIR broke all sorts of theatrical traditions.  Members of the cast, known
as the “tribe,” constantly jumped off the stage and interacted with members
of the audience, invited patrons to dance with them, and they gave flowers
and hugs to  the unsuspecting.  The U.S. flag was used as parts of costumes
and burned.  There was full-frontal nudity.  Swearing, sexual acts, pot
smoking, mocking of parents, a dance-in after the curtain call invited
everyone to come forward and “be themselves.”  There was an intentional
ignoring of theater’s proverbial “fourth wall,” a separation of the stage
actions from the audience.



This is not a well-written book musical.  The plot meanders, the songs
don’t fit into the story, often doing nothing to move the plot along.  Again,
a break from the traditional musical of the day. Though often referred to
as the “grand daddy of the rock musicals,” its really a mélange of music
and imagery.  The music changes from rock to country to ballad to African
American rhythms.



The show intends to incite strong reactions.  How could a script which
includes such lines as represented by signs carried during a protest which
state “I saw god (note the small g) and she’s black,” “It’s a war that
sends blacks to kill yellows for whites who stole their lands from the
reds,” and “lay don’t slay,” not bring about reaction…especially in the
1960s?



The highlight of action centers on Claude’s hallucinatory drug trip in Act
II where a series of horrifying visions, loaded with historical figures who
are presented in the oddest contexts. It’s a microcosm of the whole show,
which essentially unfolds like a tune-filled acid trip that gives HAIR its
distinctive period edge.



So, how does the show wear over 50 years?  The times they have
changed.  Reaction
to swearing, smoking of pot, nudity, and protest are mundane by today’s
standards.  Many of the references are beyond the knowledge of the younger
members of the audience.  Unless you are an uptight conservative or an
evangelical, who are not candidates to attend this show, the goings on
won’t evoke much reaction.  Only the wonder of “what was all the fuss
about?”



Some of the music has lost its luster.  *Aquarius* didn’t send me off onto
a journey of effervescence.  In fact, as sung by Phyre Hawkins, it wasn’t
compelling.  *Hashish*, in this age of rampant drug usage, is just a song.  On
the other hand, *I Believe in Love*, *Easy to be Hard*, and *Good Morning
Starshine*, have held up.  Of course, having the luminous Sara King singing
them helped as did their themes which aren’t era bound.  Other highlights
were *Manchester England*, *Black Boys*/*White Boys*, *Donna*, and  *Where
Do I Go?*.



The cast is good.  Handsome, charismatic Marshal Kennedy Carolan, who was
substituting in the role of Claude on opening night, displayed a fine
singing voice and made for a sympathetic character who gave in to the
system, rather than standing with his “tribe.”  Baldwin Wallace grad, Steel
Burkhardt, was sensual, sexual and like a kid with ADD as he yelled,
screamed and cavorted all over the stage and into the audience as he sang
up a storm as Berger.  Sara King mesmerized as Sheila.  Will Blum was a
stitch as a cross-dressing Margaret Mead.  Ryan Link was effectively
spaced-out as Woof.



The on-stage musicians, some of whom seemed bored after the long road tour,
still produced an effective sound and underscored the singers, rather than
playing a rock concert and drowning out the important words.  The sound
system made hearing words an easy task.



*CAPSULE JUDGEMENT:   HAIR is a classic musical, which entered the theatre
into an era of reflection of the turbulent era of the 60s.  For those who
want to relive the era, or who want to discover what was going on during
those times, it’s a good nostalgic trip.  A little tired from a long road
trip, this isn’t a great production, but it is entertaining.*



Tickets for HAIR, which runs through January 29 at the Palace Theatre, can
be ordered by calling 216-241-6000 or going to www.playhousesquare.org.



*For a bioclip of Steel Burkhardt, go to www.royberko.info.*