Tag: Galt MacDermot

Review: Hair (Mercury Theater Chicago)

Michelle Lauto and ensemble in Hair, Mercury Theater Chicago            
          

Hair

Music by Galt MacDermot 
Book/Lyrics by Gerome Ragni, James Rado
Mercury Theater, 3745 N. Southport (map)
thru Sept 24  |  tix: $30-$65  |  more info
       
Check for half-price tickets    
     

August 10, 2017 | 0 Comments More

Review: Hair (Broadway in Chicago – Oriental Theatre)

     
     

Competent ‘Hair’ revels in its own kitsch

       
     

The company from national tour of 'Hair', now playing at The Oriental Theatre.  Photo credit: Joan Marcus

  
Broadway in Chicago presents
  
Hair
  
Book/Lyrics by Gerome Ragni & James Rado
Music by
Galt MacDermot
Directed by
Diane Paulus
at the
Oriental Theatre, 24 W. Randolph (map)
through March 20  |  tickets: $27-$90  |  more info 

Reviewed by Dan Jakes

If the pre-show announcement–which asks that you please turn on your heart and to please turn off your cell phone–isn’t a clear indication, there’s plenty of proverbial winking in director Diane PaulusHair. From the restrained band volume to the affable, mostly miles-from-the-danger-line interactions between actors and audience, we’re assured from the beginning that the night’s show is going to be professional, going to be groovy, and going to be safe.

Safety, of course, was not what made Gerome Ragni and James Rado’s rock-musical about a tribe of hippies significant. It defied modern standards of decency, blazed new theatrical territory and was written and performed in the chaotic epicenter of the same cultural revolution it advocated.

Today, young, accomplished, svelte actors teeter on some house seats, take a few trips down the aisles, dry hump for effect, and stand naked for the requisite nude The company from national tour of 'Hair', now playing at The Oriental Theatre.  Photo credit: Joan Marcusscene.

But let’s face it. Entertainment value aside, The Man acquisitioned Hair a long time ago. It’s unclear when, but the changeover presumably took place some time after religious groups stopped picketing outside of performances and some time before it began running in theaters named after multi-billion dollar car companies.

During this revival, I thought about what, if any, our contemporary equivalent to the monument Hair was in its heyday for intrepidity and relevance. It’s certainly nothing that can be described in the same genre (in the grand scheme of art and provocation, rock-musicals are now, by more honest billing, lite-rock-musicals). I won’t pretend to romanticize living in the late 1960’s–one, I would not yet exist as a fetus for another two decades and two, it was a notoriously violent era of persecution, uncertainty, hate, and abused authority–but I can appreciate the time’s profound art and its ability to have instigated change.

Yet the national conflicts Ragni and Rado wrote about are still (in some cases, eerily) recognizable. Our current generation is witness to an aggressively protested war, sex as a talking point for political candidates, old white men tossing around the word “communist” to rebuke lefties, and mainstream efforts to legalize marijuana. Then is it fair to wonder if, for all its critical acclaim, this latest resurgence of Hair missed an opportunity to be more than a technically laudable send-up to a counter-cultural artifact?

Lawrence Stallings, Steel Burkhardt and Matt DeAngelis in the 'Hair' National Tour. Photo: Joan MarcusIt’s telling that during opening night’s post-curtain-call “Be-In,” where the tribe welcomes the audience onstage to dance through a reprise, the cast really had to coax people to budge. Some inevitably jumped up, but most smiled good-naturedly while inconspicuously grabbing their coats and eying the exits.

Some rapport never got established.

And some did. As Berger, Steel Burkhardt has the most opportunity to break down the fourth-wall and create a sense of community. He doesn’t as often as I‘d have liked, but his allocated moments for addressing the audience are the most entertaining, substantive parts of the show. Taking a gentle stab at an over-zealous laugher is funny–allowing another to stuff single dollar bills down his suede fringe loincloth is funny and opens up the risk and fun of watching anything-goes action. The rest of Hair could benefit from this sense of happening and authenticity.

Vocally, the ensemble is consistent, and fits well within the folk-rock style Galt MacDermot’s compositions call for. Appropriately cast, these kids look and sound like the embodiment of young idealism and acceptance. At times, they’re sublime.

Billing a show as a revival carries a certain weight, implication and spirit. I’m not confident this latest production lives up to these. But as a fully-produced tribute, it’s at least a good trip.

  
  
Rating: ★★★
   
  

Center: Paris Remillard as Claude and Steel Burkhardt as Berger, in a scene from the national tour of 'Hair'. Photo credit: Joan Marcus

Steel Burkhardt, Hair the Musical, Joan Marcus Paris Remillard, Matt DeAngelis, Hair the Musical, Joan Marcus

Hair continues through March 20th, with performances Tuesday at 7:30, Wednesday 2 and 7:30pm, Thursday 7:30pm, Friday 8pm, Saturday 2 and 8pm, and Sunday 2pm.  Tickets are $27 and $90, and can be bought at www.broadwayinchicago.com.

     
     
March 11, 2011 | 1 Comment More