Long Haired Love-In

HAIR

Grand Theatre, Wolverhampton, Tuesday 23^rd July, 2019

 

I saw this 50^th 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.

Paul Wilkins (Photo: Johan Persson)

Hair Bare Bunch

HAIR

The Vaults, London, Thursday 11^th January, 2018

 

I am lucky to catch this 50^th anniversary production just before it reaches the end of its run and I can only kick myself for not going sooner and allowing time for return visits.  Ground-breaking back in 1967, in terms of sound and format, the show comes across as fresh as a daisy you might wear in your hair.  Members of the ‘Tribe’ make observations of society: civil rights, pollution, war, while the ongoing plot involves handsome Mancunian-wannabe Claude (Robert Metson in fine voice) wondering whether to burn his call-up papers and stay with his hippy friends, chiefly Berger – the excellent, nay perfect, Andy Coxon.  Berger, king of the tribe, is a charismatic figure, sexy, funny – Every time I see Coxon perform I fall in love with him all over again, and that’s before he gets his bum out.

Shekinah McFarlane’s Dionne gets things off to a searing start with her powerful vocals in ‘The Age of Aquarius’; she also plays a mean saxophone later on.  Liam Ross-Mills’s Woof gets carried away with a Mick Jagger poster; Patrick George’s Margaret Mead has fun recruiting an audience member to be her ‘Hubert’ – in fact, everyone gets their moment to stand out: Laura Johnson’s Sheila, Jammy Kasongo’s Hud, Jessie May as barefoot and pregnant Jeanie… The strength of the solo singing is matched by the beauty of the ensemble’s harmonies.  Galt McDermot’s rock-informed score is rich with variety and contrast, while the lyrics by Gerome Ragni and James Rado (and William Shakespeare) range from witty to hard-hitting.  The show is one big highlight.

The cast is not the only thing stripped bare.  The staging is kept minimal, keeping the performers to the fore.  Director Jonathan O’Boyle makes simple but sophisticated use of parachute silk and the occasional prop, keeping us in the Tribe’s trippy world.  An extended tripping sequence is chock-full of striking imagery.  Obviously, the lighting (by Ben M Rogers) helps tremendously with creating atmosphere and a sense of place, but I want to make special mention of the sound design by Calum Robinson and Max Perryment:  aurally, the show is magnificent. Solo voices, ensemble singing, the band and sound effects are all blended to the utmost clarity.  It is a real feast for the ears.

The band, under the musical direction of Gareth Bretherton, is kept behind a fence in an upstage area, but the sound fills the Vaults.  The choreography from William Walton avoids 1960s clichés and exudes an invigorating energy.  The music, the performers, the message, are all irresistible.  The show’s social conscience has resonances with today’s messed-up world just as much as in the 60s.  But beyond all that, it’s an exuberant celebration of life.

Let the sunshine in!  Peace, love and understanding, man.  Etc.

What a whopper: Andy Coxon’s Berger leads a love-in