Tag Archives: Bradley Judge

Long Haired Love-In

HAIR

Grand Theatre, Wolverhampton, Tuesday 23rd July, 2019

 

I saw this 50th anniversary production of the notorious musical when it was on at The Vaults in London and so I am delighted to be able to catch it again as the show does the rounds up and down the country.  The main difference is the touring show is an altogether less immersive affair, with only the punters in the front stalls drawing the actors’ attention, whether they want to or not!

It starts with the voice of Trump, the Draft Dodger-in-Chief himself, thereby linking the events of the story with the present day.  Very loosely, the show relates the story of friends Berger and Claude, offering insights into the counter-culture hippy life of the late 1960s.  In 1967, the show was deemed shocking, with joints smoked on stage, nudity, bad fucking language, and all the rest of it.  Society and the media have caught up with Hair since then but it is not entirely relegated to the realms of the period piece.  Sad but true, the social issues and concerns of half a century ago are still with us, flaring up like a persistent strain of herpes: racism, homophobia, nuclear arms, war…

Jonathan O’Boyle’s lively production loses something in immersiveness on tour, but none of the energy and vigour.  Galt Macdermot’s score with lyrics by Gerome Ragni and James Rado, has given us some standards (Aquarius, Good Morning Starshine) but the show is jam-packed with strong melodies and eloquent words.

Jake Quickenden is quick to charm us with his playful, cocky Berger, and is the first to engage audience members in proceedings.  Quickenden Is an assured presence with a good voice and he brings out the humour of the role.  Going Down is superbly done.  Paul Wilkins’s Claude, torn between dropping out and doing his duty, is an appealing figure.  His rendition of I Got Life bursts with exuberance and is a definite highlight of the evening.  Daisy Wood-Davies is a fine Sheila, and there’s a hilarious turn from Tom Bales as Margaret Mead.  Marcus Collins has his moments to shine as Hud while Bradley Judge’s Woof is fun, getting up to all sorts with a poster of Mick Jagger.

The entire company is in great voice, executing William Whelton’s choreography with infectious energy.  Many striking images arise, particularly during Claude’s second-act hallucination sequence, in which sacred cows from American history are lampooned.  The chorus march toward us and are shot in the head, one by one.  A blue sheet covers the fallen… O’Boyle and Whelton ensure it’s not just dancing around here, augmenting the storytelling of Ragni and Rado’s sometimes scant book.  The music is performed live by the onstage band, directed by Gareth Bretherton, creating a rich, and sometimes loud, palette of sound.

Fun, pertinent and sometimes beautiful, Hair still has something to say about the world we live in and the way we live in it.  I adored it all over again.

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Paul Wilkins (Photo: Johan Persson)


Private Moments

YANK!

Charing Cross Theatre, London, Wednesday 16th August, 2017

 

With music by Joseph Zellnik and book and lyrics by David Zellnik, this World War II love story has a timely relevance its creators perhaps did not foresee.  A young man finds a journal in a San Francisco junk shop.  In it he reads the story of journalist Stu (Scott Hunter) who reported for Yank, the army’s in-house magazine during the War – after having met handsome Mitch (Andy Coxon) while undergoing basic training.  The pair strike up a friendship that develops – thanks to long periods without female company – into something more.  Mitch is far from at ease, confused by his love for Stu, and the pair split until events conspire to reunite them and also threaten to finish them off for good.

The pair are so appealing, the playing so tender in contrast with the barrack room banter of the rest of the squad, you can’t help rooting for them.  What these privates do with their privates has to be kept private.  There is also an underlying dread that things will not end happily for these stars-and-stripes-crossed lovers.

Scott Hunter is marvellous as our sensitive and vulnerable narrator, gaining strength in his sense of identity and confidence in his sexuality, while Andy Coxon both looks and sounds bloody gorgeous as hunky heartthrob Mitch (I want one!).

They are supported by a talented and versatile squad, among whom are Kris Marc-Joseph, who adds a touch of humour as Czechowski, Bradley Judge as handsome Italian Rotelli, and Waylon Jacobs impresses as a tough-talking Sarge and as the effeminate, drawling ‘Scarlett’.  Ostensibly the villain of the piece, Lee Dillon-Stuart’s redneck Tennessee is the ugly face (no offence) of homophobia – although, of course, the real baddie is the institutionalised discrimination against gays in the military (and society as a whole).  Sarah-Louise Young appears in all the female roles (there were lesbians in the US army!  Who knew?!) and she gets to knock out some of the show’s finest torch songs.  Chris Kiely is also in great form as photographer Artie, who opens Stu’s eyes (among other things…)

The melodic score is heavily influenced by the likes of Rodgers and Hammerstein, with some 1940s touches for added authenticity –  at times the harmonies are very Andrews Sisters.  The lyrics are witty and sophisticated, and the plot engages us emotionally at first and then intellectually.  We must remember those who fought and/or died to preserve our freedom as well as those who paved the way for civil rights.  How depressing then to live in an age when the Bigot-in-Chief at the White House bans trans people from the armed forces!  Homophobic attacks are on the rise.  The fight for equality and against oppressive shitheads continues.

This beautiful, poignant, funny and rousing show touched my heart, drained my tear ducts and made my hands sore from clapping.  A real pleasure to see (thanks to Chris Cuming’s lively choreography) and to hear (take a bow, MD James Cleeve and his unseen band).  Director James Baker balances tension with humour, tenderness with menace, to engage us with this powerful story.  Small in scale yet immense in scope, Yank! is a strong contender for my favourite show of the year.

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Lip service: Andy Coxon and Scott Hunter (Photo: Claire Bilyard)