A happening is happening at the Lyceum Space Theatre in Horton Plaza. 37 years have been rolled back, and it is 1968 with the show that rocked and shocked the nation. It is here and now and just as relevant, so welcome to the rock musical Hair.
While Hair was not the first rock opera, it is the one that captured the nation and brought this new music form to the public. It was protest from a theater stage with its inflammatory dialogue, profane gestures and blatant nudity. And Hair has lasted for 37 years, first on stage, then in film.
Director Duane Daniels, while faithful to the original, brings a renewed energy and excellent cast of young hippies (none old enough to have been around for the original) and his special vision. His set includes a high, long, narrow second level diagonally across the space, a tall stepped third level, and high chainlink fences on both wings. The playing space also includes a portion of the catwalk stage right as well as the audience area. He and Chrissy Burns have designed some truly extraordinary choreography, utilizing the space completely. Stunt Coordinator Brayden Hawk's complex stunts are executed precisely.
Danielle Quispe gets the evening to a rousing start with "Aquarius," and both the tribe and audience rock. Berger (Ruben Mier) laments his lost love with "Donna." Then come the songs that shocked the nation, song by the tribe, Woof (Erick Sundquist), and Hud (Darrell Allbritton): "Hashish," "Sodomy," and "Colored Spade." Finally Claude (Joel Rieke) introduces himself with "Manchester, England." Sheila (Chrissy Burns) brings us "I Believe in Love." Sheila, incidentally, is the first to prove that shirts and bras are not necessary. Her "Easy to Be Hard" is excellently rendered. The title song, Hair, led by Claude and Berger with the tribe is rousing. From the audience comes Margaret Meade (we won't ruin her surprise). She's amusing and astounding and holds an ingratiating smile throughout the singing of Hair. She chimes in with a boisterous rendition of "My Conviction."
Act One ends with the beautiful "Where Do I Go?" with more than just a wee spot of nudity. (Some actors hide behind flesh-colored undies, noticeable even in this drastically under-lit scene.) Alas, the number that truly brought the puritans to their knees with its lack of costuming, while full of splash and flicker, is here done in shadows. Ah, well it's the repressive 21st century, not 1968.
Act Two is just as gloriously heretical as Act One. Hair is, after all, an ensemble piece in which everybody gets a piece of the action. Sheila leads the tribe in the beautiful "Good Morning Sunshine." Throughout the production, Ginger Harris' lighting design is pure show, highlighting all the important places at just the right times, with the exception noted above. Costumer Kate Stallons absolutely nails the period and the people. Robin Whitehead's sound design works quite well. The musicians ( Jim Mooney, Geoff Clark, Amy Dalton, Scott Wallingford, and David Rumley) give a joyous performance.
