Almost 50 years ago, Hair rocked the country with its brazen (and, as some would say at the time, un-American) view of war, drugs, sex and the U.S. government. It wasn’t the first rock musical, but it’s the one that has stayed with us over time. Even those who never bought a ticket to Hairprobably can recall lyrics from some of its songs: “Aquarius,” “Easy to Be Hard,” “Let the Sun Shine In,” and, of course, the title song.
It’s almost impossible for those who weren’t around when Hair debuted to understand how a mere haircut turned the nation’s youth into a reviled sub-species by “the establishment.” This also included many of the kids’ conservative parents. The rebellious, disenfranchised youth of the 1960s wore thrift-shop clothing, beads and torn jeans, not to mention the long hair that kept people guessing about whether the person was male or female.
In many ways, Hair is as relevant today as it was when it opened. Oh, one can reflect on things have changed over the years (i.e., legalized marijuana in some states, gay marriage in others), and how much things have stayed the same (the wars that America has entered since Vietnam). Sadly, the utopian vision that these “hippies” embraced – a carefree existence built on love, acceptance and inclusion – still seems as remote as ever.
What the “flower children” of that era wanted most of all was to end the Vietnam War and have everyone embrace their peace-loving philosophy. Of course, that didn’t happen. And, despite the “green” alternatives that seem to be catching on, we were slow to get the message about ending pollution (so cleverly phrased in the song, “Air”). The term “global warming” may not have been invented until much later, but it surely has its roots in musicals such as Hair.
The “tribe” (i.e., cast) in Hair has distinct characters who stand out in the crowd. There’s Berger, the tribe’s extroverted leader (Alex Mace), who has the animal magnetism to choose whatever chick “turns him on” at the moment. His closest friend is the introverted, introspective Claude (Doug Clemons). Claude is much more attuned to the emotional needs of those around him. Once his draft notice arrives, he frets about what to do. He doesn’t want to disappoint anyone. Claude, who is dressed in a plain white tunic, becomes the tribe’s sacrificial lamb to what they would call the “war machine.” While Doug Clemons has fully embraced the character of Claude (and he sings wonderfully, too), Alex Mace has a way to go before he is credible as Berger, the tribe’s leader.
The tribe’s class clown is Woof (Ryan Cappleman), who keeps the group entertained and distracted them from conflicts that might split them. He admits to a childish crush on the rock legend Mick Jagger, and when Claude gives him his poster of Mick, Woof is overwhelmed by Claude’s generosity. The women, too, are an important contribution to the tribe. They aren’t afraid to speak their minds, and this is especially true of the pregnant waif Jeanie (Amber Smith). Sheila (Alison Mary Forbes), is more militant and intellectual. Forbes will long be remembered for her show-stopping version of “Easy to be Hard.” She also leads the group’s silly tribute to the heavens, “Good Morning Starshine.”
Director Ray Jivoff, who’s also the company’s associate artistic director, manages to shape these distinct characters and still keep the notion of a unified tribe. He draws attention to the strengths of characters such as Dionne (Raven Dockery) – who commands our attention in “Aquarius” – and the naïve Crissy (Katherine Duffy). It is perhaps Crissy who best reminds us that this ensemble comprises young people, all of whom are still in the process of “finding themselves.”
The cast does a superb job of keeping this high-octane musical afloat. They offer more smiles and hugs than this reviewer recalls from the Broadway cast. Jeremy McQueen’s choreography is a brilliant interpretation of dance moves that these kids might dream up themselves. Lisa Schlenker’s creative set allows the roaming actors full use of the stage, which almost morphs into the aisles where the audience sits. The musicians, led by Viswa Subbaraman, beautifully capture the sounds of that era.
The original cast of Hair, as well as the 2009 Broadway revival, distinguished itself by casting non-actors in various roles. The cast at Skylight Music Theater follows this tradition, by taking graceful, young, beautiful girls and boys and allowing them the seeming spontaneity to make Hair both free-spirited and revolutionary. The amazing result is a must-see for Milwaukee audiences. Once it gets rolling, Hair keeps the sixties alive in a magical, enchanting way.
