The Public Theater's Tony Award-winning production of HAIR is at the Denver Center until October 16th! And, like some people's hair, it's BIG! This exuberant musical about a group of young Americans searching for peace and love in a turbulent time has struck a resonant chord with audiences young and old. As a celebration of the 1960s, HAIR reflects a lifestyle of peace, love and understanding as well as sex, drugs and rock and roll.
I have to admit I was a bit worried when I spotted a note in the program mentioning that two of the lead roles would be performed by understudies, but Nicholas Belton (Berger) and Tanesha Ross (Dionne) ("Aquarius" kicked it!) held their roles in a grip that only pros can achieve. So capable, so fun, so ... groovy, man. The show spotlights Claude (Paris Remillard in a spot-on performance), the leader of a "tribe" of disillusioned, politically-active, bohemian hippie types. "Tribe" members include free-spiriTed Berger and activist roommate Sheila. Together these coming-of-age men and women traverse the tricky territory of the tumultuous, protest-driven, Vietnam-steeped 1960s. Remillard commands the stage with his moving performance and soaring vocals ("Where Do I Go" had me in tears). Toss in Ross as Dionne, Colorado's own Triple Fountain as a far-out Margaret Mead, Darius Nichols as militant Hud, and Matt DeAngelis as deep thinker and sexually charged Woof and you've got the makings of a hip, classic rock musical (although I didn't know every guy had rock hard six-pack abs in the 60s?!).
Standout numbers include "Aquarius," "Donna," "I Got Life," "Black Boys/White Boys," "3-5-0-0," "The Flesh Failures" and "Let the Sunshine In." Both the endings of act one and act two left the audience moved and wanting more. It proved difficult taking my eyes off the fine acting and the beautiful naked bodies onstage, lit subtly and dramatically to downplay the fact that there were completely naked people standing on stage.
The show is very audience interactive, almost too much so. Getting the audience to clap -repeatedly and vociferously - is great, but you also need to give them a break. That said, by the inspiring finale the entire audience was on its feet, with enthusiastic people leaping onto the stage, dancing and singing along like they were meant to be up there. Yeah, man, the music got into them in a big way.
The set (designer Oskar Eustis) is minimalist and splashed in urban-youth chic and color. The live onstage band is a perfect addition, as is the fog-ish haze lazily wafting over the stage at all times - perhaps in homage to the marijuana soaked days the era is most closely associated with? The lighting by Kevin Adams is appropriately psychedelic, man, and the sheer number of lights used is astounding, encompassing an entire ten-lights-deep arch around the stage. Guess those beautiful naked bodies commanded some strategic light placement.
While HAIR is considered to be the quintessential political protest musical of the 1960s, it is still highly relevant today. The soulful lyrics belted out with such passion and angst remain a haunting reminder of the personal and political battles we've been dealing with since 9/11. The songs speak to times of confusion, outrage, and finding one's voice, both individual and collective.
So go get your groove on, Starshines! HAIR is playing at the Buell Theater until October 16th. For tickets or information, contact the box office at 303-893-4100 or online at www.denvercenter.org.
PS: I must add a gentle reminder about etiquette for musical theater enthusiasts. Now I know that we ALL love musicals (especially us theater queens) and their fantastic musical numbers that get inside and take us over emotionally and, yes, sometimes physically. However, that does NOT mean you should sing along at the top of your lungs to every number! You know who you are - you arm-flailing, foot-stompin, singing queens that sat behind me, even after asking you repeatedly to stop....grrrr! Have some respect, willya, not only for fellow audience members who are trying to enjoy the show, but also for the actors onstage performing those wonderful numbers for you. People pay to watch them, not get smacked in the head by your uncontrollable arm or be assaulted by your unbearable singing voice. I know it's hard to contain yourself, especially when witnessing such outstanding talent as is showcased in this musical. But it's not a mosh pit, people. Hum along in your head, sing loud enough so only you can hear it, enjoy the show, and for goodness sake don't go out of your way to make a spectacle of yourself! Etiquette, people. Mind your manners. Thank you, friends!
