Hair

Mojo was missing during the first stanza of this retro rock musical. Maybe that was down to its musical director being absent for opening night. Despite the star-studded band, and the willingness of an energetic cast, the opening scenes were a bit ‘hairy’, lacking organic cohesion.

This mix wasn’t helped by a muddy sound mix that made some chorus work semi intelligible.

Fortunately, most things were back on track for the second half, helped by back projections from the Vietnam War era, including closer-to-home street conflicts that starred none other than a young Tim Shadbolt, spokesperson in the 60s and 70s for the Progressive Youth Movement.

There’s a saying that anyone who remembers the 60s wasn’t really there, but one of the conundrums for a modern production of this 60s anti-war stoner ‘theatrical happening’ is how will anyone who wasn’t there, get it?

Director Damian Thorne opts to get around this by making his alt crowd of dropouts and street kids, in their anti-uniforms by Philip Hausman, decade-generic. He also includes anachronisms such as current references to the American presidential race, a rap version of signature song Aquarius, and tributes to David Bowie and Prince.

He is blessed with a stunning cast. Bex Palmer as Berger, the ‘psychedelic teddy bear’, is a pocket dynamo. Tyrell Beck as an Aladdin Sane era Claude, captures the angst of a young man called up in the Vietnam or AnyWar draft.

Ashleigh Blummont – a lovely Good Morning Starshine, Drew Pouniu, Kate Petherick all have performance talent to burn, while Mike Whitton made psychedelic panto dame Margaret Mead a memorable cameo. The Yippy chorus (Yippies were the hippy era’s political activists) in the final scene was particularly effective.

The vision of a youth rebellion in search of a better more peace-able and equitable world alas never came to pass. This production at least acknowledges their efforts.

HAIR the musical first arrived on the American scene in 1967, the “summer of love”.

But this era of peace-and-love hippies was also a turbulent one featuring the fight for civil rights, the drug culture, the Vietnam war, and young people breaking out of hitherto accepted social norms.

The visible mark of this rebellion was for young men to grow their hair as long as possible; and for black youth to wear their natural, unstraightened hair in big proud Afro hairstyles.

Writer Gerome Ragni and lyricist James Radio melded all these elements into HAIR’s story, while Galt McDermott’s music would produce iconic hits such as Aquarius and Good Morning Starshine.

HAIR, now a period piece, is about a bunch of young people, passionate for freedom and a better world, living together in Central Park and protesting the war, pollution and social injustice.

Director Damian Thorne, costume designer Philip Hausman and choreographer Nicola Morrison have stepped partially outside of the period model, introducing hip-hop and contemporary dance; echoes of Prince and other modern artists; a “Chernobyl Punk Hippy” look for the cast, with accompanying wigs; references to Donald Trump; back-projected footage of New Zealand protest marches and, at one point, a selfie photo of the Tribe.

Sometimes this works well, at other times it doesn’t quite fit.

The ideal of breaking down walls at the start of the show is a good one, but in practice it holds the action up for much too long.

However, the talent on display is never in doubt and the energy and verve of the young dancers and singers is never-flagging, with a switch into high gear in the second half of the show.

Principals Tyrell Beck as conflicted hero Claude, Bex Palmer as Berger, Kate Petherick as pregnant Jeanie and Ashleigh Blummont as Sheila deliver fine performances, ably supported by the large cast.

Mike Whitton’s solo as ‘Margaret Mead’ was the comedic hit of opening night.

After 49 years, HAIR is no longer the shocker it once was, but is still a reminder of being young, hungry and passionate for a better world.

(Richard Mays)