Book and Lyrics by Gerome Ragni and James Rado, Music by Galt MacDermot. Directed by Zoe Bradford, Musical Direction by Robert McDonough, Choreography by Sally Ashton Forrest, Costume Design by Hannah Schuurman, Lighting Design by Dean Palmer Jr., Set Design by Ryan Barrow. Presented by The Company Theatre, Norwell through August 21
by Linda Chin
After the house lights dim, signaling the audience to put conversations and concerns aside and settle in their seats, the stage lights come down and the words “when the moon…is in the seventh house” of the stirring anthem “Aquarius” emerge from the darkness (soloist Sarah Burke, as Ronny, makes their debut). When the stage is re-illuminated, revealing a full-size car covered with flower power decals (set design by Ryan Barrow, lighting design by Dean Palmer, Jr.) and a vibrantly-colored, bell-bottomed, bare-bellied Tribe (costume design by Hannah Schuurman), the audience – transported to New York City, circa 1968 – becomes electrified. The Company Theatre’s production of HAIR opens on a high note and sustains the momentum and kinetic energy for two hours.
After “Aquarius,” familiar songs (including “Donna,” “Sodomy,” “Colored Spade,” “Manchester, England,” “I’m Black,”) follow in fairly rapid succession, giving the boys Berger (Nolan Donato), Woof (Devan Kushnir), Hud (Jeff Jean-Phillippe), Claude (Peter Kirby), individual time in the spotlight to tell their stories through song. The girls – Jeannie (Holly Cardoza), Crissy (Shannon McCarthy), Dionne (Janaysia Gethers) get “air-time” soon after with the clever number “Air.” The first female solo comes towards the end of Act 1, and is worth waiting for – with Sheila (Julia Violet) tugging hard on our heartstrings in “Easy to be Hard.”
Each of the 38 performers on-stage and in the pit contribute to the collective power of this iconic musical, which runs through August 21. Company Theatre co-founder Zoe Bradford (director), Robert McDonough (musical director) and Sally Ashton Forrest (choreographer) have succeeded in casting and training young triple-threats to execute their shared vision, and authentically convey the restless, pent-up energy of a generation that is coping with social issues that are out of their control and who feels unheard by authority figures. The artistic team also makes the most of a weak book (that is, alas, also out of their control). I found the scene with Margaret Mead (a more endearing than over-the-top portrayal by Shawn Verrier) engaging with the “hippays” in the park to be quite touching, especially their mutual delight in feeling “seen” and “appreciated” by someone of the opposite generation. The full stage “flash” when the group gathers to pose for a photo with Mead’s camera (before smartphones/selfie sticks were invented) was a charming touch. These moments underscore that we need to strive for “harmony and understanding,” and could all use an empathetic “aunt-thropologist” in our lives.
In one of the final numbers, “The Flesh Failures” (more familiarly known as “Let the Sunshine In”), the full company delivers a call to action and sends the audience out into the real world on a high note. Are our spirits buoyed by the magic of a live theatre experience? Are we relieved that the Age of Aquarius, characterized by collective energy towards correcting social injustices, may truly be coming? Yes and Yes, and to quote Margaret Mead, “Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it’s the only thing that ever has.” The artist-activists of The Company Theatre Tribe give us reason for hope. For tickets and information, go to: https://www.companytheatre.com/
