New Rep's "Hair": Splitting

The Cast of "Hair"
(photo: Andrew Brilliant/Brilliant Pictures)

It hardly seems possible that it was half a century ago, in 1968, that a musical by the name of Hair burst onto the Broadway stage, while banned in Boston. One had to travel to New York to be able to see its brief and darkly lit nude scene, as well as what was criticized as desecration of the flag. It also consisted of a cast that included such future famous folk as Diane Keaton (before she was Diane Keaton), as well as Melba Moore and Shelley Plimpton. But its claim to fame is that it was recognized even then as a watershed creation that ultimately led to a proliferation of rock musicals, the precursor of works from Jesus Christ Superstar to Rent and even to Hamilton, remembered for its anti-establishment themes (especially its opposition to the Vietnam War), the draft and its hippie subculture. It certainly wasn't (then or now) revered for its thin Book and Lyrics by Gerome Ragni and James Rado, (both of whom were also in the original cast) and its uneven Score by Galt Mac Dermot. The original production lasted four years; the war it protested lasted ten. Thus it was a surprise to see this once-famous (or infamous) show on the calendar of the current season of productions from New Rep Theatre in Watertown. One could only guess what this revival would be, either an exercise in theatrical nostalgia or an updated take that would speak to the audiences of today. Would it still evince the power to move us, or would it be more of a trip (the other kind) down memory lane? The answer is, both.

The Cast of "Hair"
(photo: Andrew Brilliant/Brilliant Pictures)

As this production was Directed and Choreographed by Rachel Bertone, one of the most admired of local magicians, hopes were higher than they might have been if this mounting had been assigned to less capable hands. The name and reputation of Bertone for casting her shows is also promising, with a dozen triple threat actors needed to sing and dance as well as they portray their characters. Happily this Tribe includes Sheila (Marge Dunn), Claude (Edward L. Simon), Berger (Eddie Shields), Crissy (Kris Ivy Hayes, whose character in the program is misidentified as “Ivy”), Dionne (Yewande Odetoyinbo), Jeanie (Katrina Z. Pavao), Woof (Brian-Barry Pereira), Hud (Anthony Pires, Jr.) and other unnamed members of the Tribe (Lovely Hoffman, Zoe Maloney and the charismatic Aaron Patterson); oh, and Margaret Meade (Peter Mill). Each is a gem, some more polished than others, such as the terrific Odetoyinbo, whose numerous roles in local shows have been a pleasure to encounter. The able creative team includes Scenic Design by Janie E Howland, Costume Design by Marian Bertone, Lighting Design by Franklin Meissner, Jr. and especially Sound Design by Kevin L. Alexander, all help to keep the sometimes languid pace of the plot moving.



The Cast of "Hair"
(photo: Andrew Brilliant/Brilliant Pictures )

What they don't do is re-envision the piece, which may be asking too much after all this time. It comes across as a version that, even in its most moving scenes of draft card burning, refuses to be relevant, which is surprising given our corrupt current political establishment. There are memorable moments among the forty or so songs, such as “Frank Mills” sung by Hayes (but lacking the poignancy as written) about not wanting her two dollars back from her lover, just him. And there are many fine numbers (“Aquarius”, “Air” “Good Morning Starshine” and “Easy to Be Hard”) as well as many superfluous ones. (Some have been altered, thus more politically correct, like the lyrics for “Three-Five-Zero-Zero”). Who could deny the power of the lyrics about those who care about the needing crowd, but not a needy friend?



The Cast of "Hair"
(photo: Andrew Brilliant/Brilliant Pictures)

On the whole this production is very well directed and performed, an altogether too safe and sanitized (were there ever such immaculate hippies, and visuals more appropriate for Godspell?) attempt at recovering that critical era in political and theatrical history that maybe can never be fully replicated. Perhaps it's best to remember the original fondly (even with its inherent flaws) as this critic does, (having seen and loved both the original Broadway and Paris versions) and enjoy the current version's performances, lest we be accused of splitting Hairs.