As someone who loves HAIR, originally subtitled “The American Tribal Love-Rock Musical”, news of a new production can fill me with trepidation. Will this be a dated game of dress-ups, or will it be true to the show’s sense of liberation, joy, and activism?
Not only does this production of HAIR - written in 1968 by Gerome Ragni, James Rado and Galt MacDermot – absolutely capture the show’s timeless energy and important messages, I’d argue that it’s the best production of the show seen in Sydney since Jim Sharman’s legendary staging in the late 1960s.
Directed and produced by Zachary Aleksander, who also shines in the pivotal role of hippie tribe leader Berger, this production is distinguished by terrific energy, imaginative staging, enchanting group singing, and a surprisingly moving finale. Yes, there’s no happy, clappy finale in this HAIR. Rather, a show full of fun ends with some heart wrenching sadness and ensures that it will live long in your memory.
Everyone in this ensemble cast of twenty-one is superb. However, special mention must be made of Tom Kelly, who is fast becoming a major player in Sydney’s music theatre scene, in the central role of Claude: the young free spirit who finds himself drafted for the war in Vietnam. Similarly, Dani Bainbridge, who also has created the show’s wonderfully organic choreography, delivers two beautiful solo numbers as Sheila; and Patricio Ibarra’s Woof and Izzy Tilden’s Jeanie also have standout moments. HAIR has one of the greatest rock scores ever written, and the tight four-piece band, under the direction of Nathaniel Kong, play it beautifully.
This production is masterfully directed, and is performed with a level of commitment and a sense of reality which is all too rare in contemporary music theatre. Moments in, you don’t feel like you are watching a show. Rather, you are witnessing The Tribe do its thing. As such, there is some language and images which some may find confronting, and there’s good reason why no one under 18 years old will be admitted. However, unlike the gratuitous use of nudity in some productions of this show, when it briefly occurs here it is both restrained and genuine.
This is a short season. If you can get a ticket, do so immediately. And if you can’t, let’s hope for a return engagement. Sincerest congratulations to all involved. I rate this HAIR five tabs of acid, and five tear stained hankies, out of five. “Yip Yip Yip!”
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