The production of Hair that closed out at the Colonial Theater in Boston last night was a lively, spirited rendition of the 44 year old Broadway show. While this current touring production offers no depth in character development, it captured the essence of what Hair is about: Freedom!
Freedom to protest the war. Freedom to burn draft cards. Freedom to defy one’s parents. Freedom to enjoy life and the world. From the racist slurs sewn into the lyrics to ‘Colored Spade” to the nude scene at the end of the first act, Hair enters once taboo territories to detonate them and diffuse them. When African-American character Hud sings of being called racist names, he makes them weaker by tossing them all up in the air so that people can see and hear that they are merely words with little power once they are uttered and ridiculed. He frees himself from the shackles of words.
The nude scene, which involved the entire cast, tastefully presented with dim lighting, tears down the concept of nudity as taboo and infuses it with the bravery of freedom. In this way, Hair announced, 44 years ago, the beginning of a brave new world. The clarion call for freedom has always been the backbone and the power of Hair.
The touring production of Hair that recently stopped in opened with the now classic pop rock gospel song “Aquarius” and the character Dionne, played by Tanesha Ross, traipsed about the stage with a funky urban charisma. She ably sang the key number with steady grace, proving herself a very watchable stage presence.
The role of Berger, portrayed by Matt DeAngelis, was a hoot. Parading around the stage in a loin cloth and asserting his primitive charm, DeAngelis ably portrayed the role, and, he did rocking justice to the suggestive number “Donna.” Hud, as rendered by Darius Nichols, tore down racial stereotypes with his aggressive interpretation of “Colored Spade.”
Claude, strikingly performed by Paris Remillard, made his energetic entry to sing “Manchester, England.” Remillard simultaneously made Claude the startling centerpiece of this ensemble, a dynamic presence from beginning to end that drew all eyes.
The storyline, ostensibly, revolves around Claude’s decision to eventually honor his draft notice and enter the army during the Vietnam war. Claude’s number “I Got Life” was a bold assertion of a young man’s right to look forward to all that life should have to offer him. It was Claude’s final scene that illustrated the fate of those who chose to obey the law and follow the system, during the 1960s, to it’s final conclusion. Remillard handled all of it with pizzazz and unmistakable stage presence.
The problem with Remillard’s performance and most of the others is their lack of character development. All of the song and dance numbers were well-executed and the technical and set design for the show were totally groovy, but the actors were not believable. Not one reflected their character’s personal struggle of their times. The cast was more focused on lively stage action, excellent ensemble work, and fancy footwork as they pranced across the stage. Never once, though, did hardly any of cast make you feel what the character was feeling. Claude is forced to make a life or death decision and Remillard only made him seen as harried as a young adult being pressured to clean his room before he could go out with his friends.
Only one character Jeanie, played by Kacie Sheik, was fully conceived. An eccentric, pregnant hippie, Jeanie is in love with Claude, whom she wishes could be the father of her love child. Jeanie’s eccentric but kind personality was fulsome and believable and she moved about with the wandering confusion of a well-meaning oddball.
Two of the popular songs from the musical, “Aquarius” and “Hair,” came off with musical mediocrity but the third hit “Easy To Be Hard,” sung by Caren Lyn Tackett as Shelia, with her mastery of high notes, came off with the emotive vocal blast off that brought the song straight up into the stratosphere.
The band, featured on stage with the band, were capable enough, yet only distinguished by the horn section. Well known Boston area trumpeter Jay Daly was among the band members visible to the audience for two hours plus.
This production of Hair will likely sell a lot of tickets. Its relevance is stronger than ever during this time of war and limited economic opportunity.
www.hairontour.com
The production of Hair that closed out at the Colonial Theater in Boston last night was a lively, spirited rendition of the 44 year old Broadway show. While this current touring production offers no depth in character development, it captured the essence of what Hair is about: Freedom!
Freedom to protest the war. Freedom to burn draft cards. Freedom to defy one’s parents. Freedom to enjoy life and the world. From the racist slurs sewn into the lyrics to ‘Colored Spade” to the nude scene at the end of the first act, Hair enters once taboo territories to detonate them and diffuse them. When African-American character Hud sings of being called racist names, he makes them weaker by tossing them all up in the air so that people can see and hear that they are merely words with little power once they are uttered and ridiculed. He frees himself from the shackles of words.
The nude scene, which involved the entire cast, tastefully presented with dim lighting, tears down the concept of nudity as taboo and infuses it with the bravery of freedom. In this way, Hair announced, 44 years ago, the beginning of a brave new world. The clarion call for freedom has always been the backbone and the power of Hair.
The touring production of Hair that recently stopped in opened with the now classic pop rock gospel song “Aquarius” and the character Dionne, played by Tanesha Ross, traipsed about the stage with a funky urban charisma. She ably sang the key number with steady grace, proving herself a very watchable stage presence.
The role of Berger, portrayed by Matt DeAngelis, was a hoot. Parading around the stage in a loin cloth and asserting his primitive charm, DeAngelis ably portrayed the role, and, he did rocking justice to the suggestive number “Donna.” Hud, as rendered by Darius Nichols, tore down racial stereotypes with his aggressive interpretation of “Colored Spade.”
Claude, strikingly performed by Paris Remillard, made his energetic entry to sing “Manchester, England.” Remillard simultaneously made Claude the startling centerpiece of this ensemble, a dynamic presence from beginning to end that drew all eyes.
The storyline, ostensibly, revolves around Claude’s decision to eventually honor his draft notice and enter the army during the Vietnam war. Claude’s number “I Got Life” was a bold assertion of a young man’s right to look forward to all that life should have to offer him. It was Claude’s final scene that illustrated the fate of those who chose to obey the law and follow the system, during the 1960s, to it’s final conclusion. Remillard handled all of it with pizzazz and unmistakable stage presence.
The problem with Remillard’s performance and most of the others is their lack of character development. All of the song and dance numbers were well-executed and the technical and set design for the show were totally groovy, but the actors were not believable. Not one reflected their character’s personal struggle of their times. The cast was more focused on lively stage action, excellent ensemble work, and fancy footwork as they pranced across the stage. Never once, though, did hardly any of cast make you feel what the character was feeling. Claude is forced to make a life or death decision and Remillard only made him seen as harried as a young adult being pressured to clean his room before he could go out with his friends.
Only one character Jeanie, played by Kacie Sheik, was fully conceived. An eccentric, pregnant hippie, Jeanie is in love with Claude, whom she wishes could be the father of her love child. Jeanie’s eccentric but kind personality was fulsome and believable and she moved about with the wandering confusion of a well-meaning oddball.
Two of the popular songs from the musical, “Aquarius” and “Hair,” came off with musical mediocrity but the third hit “Easy To Be Hard,” sung by Caren Lyn Tackett as Shelia, with her mastery of high notes, came off with the emotive vocal blast off that brought the song straight up into the stratosphere.
The band, featured on stage with the band, were capable enough, yet only distinguished by the horn section. Well known Boston area trumpeter Jay Daly was among the band members visible to the audience for two hours plus.
This production of Hair will likely sell a lot of tickets. Its relevance is stronger than ever during this time of war and limited economic opportunity.
