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Musical's issues of war, freedom still relevant
The catchy music is by Galt MacDermot, with book and lyrics by Gerome Ragni and James Rado, who also played Berger and Claude, respectively, in the original production. Another original cast member was Diane Keaton. The unconventional play lacks a structured plot and uses rock music instead of traditional show tunes. The nonstop songs and dancing, not the story, drive the action. The large cast, all born long after the premiere of "Hair," are full of vim and vigor. These teens have dropped out of school, left home and live together in the alleys of New York City. They have no jobs, ambition or future. They're angry about the Vietnam War, frustrated at adults and supportive of rights for blacks and American Indians (the women's lib movement is never mentioned). The principal roles are stereotypes more than developed characters. Berger (Nick Ferguson) is the leader who holds the tribe together with his domineering attitude. There's bad boy Woof (Seth Kamenow), the rowdy one who sings the song that can't be named in a family paper. Hud (Jacob Nixon) is the "token" black man who rails against racial epithets and dances like a pro. He should trim his overgrown 'fro so his face can be seen. Jeanie (Andi Rhoades) is the sweet waif pregnant with somebody's child, oblivious to damage being caused by her prenatal drug use. There's levelheaded Sheila (Elizabeth Stockton) whose main purpose is to be in love with Berger. The women in the show are mere sex objects. Claude (Aaron Strange) provides the slim plot thread. He's received his draft notice and must report for duty. The tribe tempts him to burn his draft card and live in their fool's paradise. Or should he flee to Canada? Or help Jeanie raise her child? Or capitulate to his parents' nagging? What's a young boy to do, he asks in the passionate "Where Do I Go?" In Act 2, he hallucinates during a strong pot trip, mixing up war images with pop culture icons as he struggles with his decision. The play attempts to show the confusion, rebellion and independence of youth. However, rather than engaging in positive action, these youths escape into druginduced hazes and "free love"- promiscuity without protection. They sing about "love" yet don't always treat each other kindly. When Sheila offers Berger a gift, he screams at her and rejects the present, which leads into her sorrowful "Easy to be Hard." The ending is stunning and heartbreaking. The Establishment has claimed another victim- but the cast sings "Let the Sunshine In," suggesting that a ray of hope will break through. Youthful optimism wins out. The singing is easy to hear since the singers are miked. The main actors capture the energy and essence of the times. The three-piece band is note perfect. The costumes are a delight. Lighting effects are incredible, especially during Claude's hallucinations. This scene is a marvel of staging, especially when the action suddenly moves backward. Is the play still relevant? The war protest is still poignant today, although today's military is volunteer, not drafted. The show's attitude toward sex seems naive in this post-AIDS world. After seeing the fallout from drug abuse, intoxicants today are less likely to be idolized. And "Hair" doesn't suggest a suitable alternative to the button-down world. The opening night audience was all over 40. Modern youth has its own music and would rather work a high-paying job than live as a burned-out dropout. The play is rated R for profanity and references to sexuality and drug use. As for the infamous nude scene, you'll miss it if you blink. A few cast members disrobe, face the audience and the lights quickly dim to black. Running time is two hours 30 minutes. "Hair" continues through July 8 at the Simi Valley Cultural Arts Center, 3050 Los Angeles Ave. For tickets, call (805) 583-7900. |
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