By Stephen Dubois

Our former receptionist at work, long since retired, once told me about seeing the original cast of Hair on Broadway. She vividly remembered the first moment the entire company sang the chorus of “Aquarius” and described the sound of their voices as a warm, powerful explosion that found its way into your soul. That image has stayed with me for years. Every time I listen to one of the cast albums—whether the original recording or one of the revivals—I think about her description when the opening number begins.

Tonight, I got to experience that same magic firsthand at Shea’s 710 Theatre.

MusicalFare’s production of Hair is a revelation, every bit as intense and wonderful as its production of Jesus Christ Superstar was last season. Widely recognized as the musical that brought rock music and the counterculture decisively onto the Broadway stage, Hair changed the landscape of musical theater. It confronted taboo subjects, embraced antiwar sentiment, and gave voice to a generation questioning nearly every established social norm.

With its unconventional narrative, infectious songs (penned by lyricists Gerome Ragni and James Rado) and unapologetic embrace of youthful rebellion, Hair captures a moment of cultural upheaval and brings that era of angst-ridden revolution vividly to life (with a rousing score by Galt MacDermot.)

The success of this show, though, has a great deal to do with the band. The horns must be fluid, the bass and guitar need to drive the rhythmic pulse, and the percussion needs to accent everything with precision.  If the band is weak, the whole experience suffers. I am delighted to say that this band truly delivers, thanks to stellar musicians under Theresa Quinn’s musical direction. The interplay between the voices and accompaniment is joyful and celebratory, with an energy that makes it almost impossible to sit still.  This is especially apparent in the big ensemble numbers where the sound becomes almost overwhelming in the best possible way.  But the more tender moments were realized wonderfully with the keyboards and woodwinds. 

As one has come to expect from MusicalFare’s productions at Shea’s 710, the set was simple and multi-level, but nicely decorated in patterns, texture and colors all the while looking like the interior of an old factory with massive windows and sliding metal doors. The floor had a scatter of Persian rugs and posters adorned the walls. Lighting is a key component as well, adding the proper color and tone to the stage elements. Shadows and other special-effect lighting further augment the visual landscape.

The open, wide stage allows plenty of room for some dazzling choreography, and Eric Deeb Weaver did a fine job creating movement and visual drama, capturing the free and restless spirit of the ’60s.  Weaver also joined forces with Alexandria Watts as Co-Directors and their collaboration resulted in something truly remarkable.  I hope they are proud of what they nurtured in these performances because this is not an easy show to direct.  However, with a cast this strong, it was possibly less stressful for them.

The moment Lily Jones opens her mouth as Dionne to sing the first verse of “Aquarius” I was drawn in immediately.  Her voice was so rich, powerful and creamy smooth that it set a high bar for the other performers, but they joined in matching her with the same high standards creating that moment I was hoping for.  The entire cast was strong from beginning to end from the members of The Tribe to the leads.  Central to the story is Claude and Alex Reiser portrayed him with conviction capturing all of his doubts and bravado.  Aaron Gabriel Saldana and Nicholas Mastrodomenico were both wonderful as his closest friends Woof and Berger; each adding dimension and identity to their characterizations.  Jalen Dalton as Hud had a larger-than-life persona on the stage while Andrew Giandomenico and Brittney Leigh Morton brought the serious drama as Claude’s disapproving parents. Bobby Cooke was clearly having the time of his life in the memorable cameo role of Margaret Mead.  While her time on stage may be short the impact was far greater.  Also in a more comedic role, Stevie Lou Kemp was fantastic as Jeannie pining over Claude and belting out some big notes throughout.  Danielle Nodelman as Sheila and Emma Theriot as Chrissy had some grand moments on the stage as well.

At the end of the performance, you leave feeling strangely energized.  I am so glad to see that MusicalFare’s choices have been so strong and successfully executed.  After Hair and Superstar, perhaps next season they can reprise Tommy on the 710 stage and have bragging rights to doing all three seminal rock musicals in three consecutive seasons.  But, for me, this production came together as a dazzling and cohesive experience. While not as daring as some productions I’ve seen, this is still enormously satisfying and absolutely should top your Curtain Up list. 

Hair is playing through October 4, and you can find tickets at Sheas.org or musicalfare.com.