HAIR

StageArt are having a good Hair day; in fact they are having a good Hair year. Hair may now be a “period piece”, as the director described it to me after the show (I prefer to say Retro), but it is still terrific entertainment, high energy and infectious (in a good way), and far more than just a novelty piece. It’s relevant even now with young men being sent to fight wars not of their making in countries they’ve barely heard of, without really understanding why, but those who remember the Vietnam War may find it harrowing to recall that young people had to break the law as a protest against being killed.

The band, under the direction of Cameron Thomas, is as good as ever. The cast is universally strong, and impressive. Josh Stent deliciously repeats his role of Margaret Meade – only now “she” has been rebranded as a Julia Gilliard look-and-sound-alike – on her honeymoon with Ian (a hapless audience member). Josh is once again a force to be reckoned with.  Tod Strike is a compelling Berger, very confident and professional and with a great voice, but too “in your face” for some audience members in this tiny, intimate venue, where (warning) the close quarters nude scene also seemed to be confronting for some. Mitchell Roberts brings great experience and talent to the central role of Claude, the sacrificial lamb/Jesus character, but I sorely miss the vulnerability and innocence that the role requires. Grace Agnew is delightful as Mom/Jennifer and Danny Medica gives us an endearing Woof. Chernae Howlett (Jeanie) and Jessica Barlow (Sheila) are both excellent in their roles, yet never convinced me they were hippies.

And here’s an overall observation, rather than a criticism. Hair has always been more than  “just a show.” It’s a slice of history and works best when it is raw and at least gives the impression of being REAL rather than acted. This production seems to lack the spontaneity and sense of truth that a rawness in performance adds. The Tribe members are especially good, the staging is slick, Jason Bovaird (a brilliant lighting designer) has created a lighting design to die for and so it is better on so many levels – and yet there isn’t the sense of involvement, of “dropping in” on the tribe in a hippy camp, of “being there.” This is a finely tuned, professional offering in every sense, but that somehow works as a distraction – for me, at least. It’s also been staged for the much larger venues at which it will continue its tour, with raised stages and therefore it seemed over directed in Chapel off Chapel’s intimate space. Nevertheless, this is still a terrific production. I loved singing Peace Train with an audience member in the after show “love in.” You will be blown away by the colour, the music, the energy, and the chance to see a slice of history.

Coral Drouyn

Images - (top) Ipou Auva'a, Jessica Barlow, Ryan Ireland & (lower) Paige Burney.

Photography - Sean Higgins