Hair: A New Age of Aquarius
Photo by Daniel Rader
A mere five miles away from a prominent Pro-Palestine encampment on a D.C. college campus, Signature Theatre’s production of Hair depicts the culture of the 1960s Anti-Vietnam War “hippies”. However, in the current political climate in Washington DC, the production evokes a deeper resonance for seemingly parallel protests. This groundbreaking, sometimes controversial, rock musical is nothing short of perfection in the hands of Signature Theatre with nearly perfect staging and vocals that rival even the most recent Broadway revival.
Every so often there is a production that changes how theatre is made and viewed, Hair was that production of the 1960s. It rejected traditional musical theatre conventions instead conveying themes of politics, sexuality, drugs, and freedom from the bounds of society shown through full-frontal ensemble nudity and a rock-infused score. Hair is one of the few musicals to this day to permeate into popular culture with songs like Aquarius that charted beside popular music. Its effect was felt immensely in the real life anti-war movement that defined a generation. This vast impact is present in every production of Hair and despite thematic controversy, has defined Hair as one of the greats.
Photo by Christopher Mueller
Signature’s production itself takes very good care of Hair’s original themes and intentions. The multi-level set design by Paige Hathaway effortlessly fuses with the lighting and projections to transport the audience through the sentiments of the cast of “hippies”. Signature follows the immersive trend in live theatre by running a single projector video of 1960s protests and wars from the moment the doors open to the audience. Claude (Jordan Dobson) enters as the audience is murmuring amongst themselves looking at the projector with concern and pulls out a cigarette. Although this staging decision may simply be following a trend that has been very prominent in the past year of theatre, it is an extremely effective tone-setting tool and works as such for this production.
From the moment the actual show begins with Dionne’s (Amanda Lee) ethereal rendition of Aquarius until the finale ensemble number Let the Sunshine In this production of Hair realizes everything the show was meant to be. The show follows Claude (Dobson), Berger (Mason Reeves), Sheila (Olivia Puckett), and an ensemble of young people who reject conformity and push boundaries in every aspect of their existence, sometimes to their own detriment. Through a variety show of sorts, the first act showcases aspects of “flower power” culture from nudity to drugs but most importantly the ideals that motivate their resistance. Among this ensemble, Solomon Parker III as Hud stands out as electric in every aspect of his performance. The always controversial full frontal nudity by the whole cast during Act I’s, Where Do I Go is done tastefully in Signature’s hands representing the culture and freedom of the time rather than any perversion that may be cast upon it.
Photo by Christopher Mueller
Act II forms more of an easily trackable plot that is spurred by Where Do I Go. Each character grapples with reality outside of their culture of peace, love, and freedom. The ultimate portrayal of the loss of youthful innocence exudes through Dobson’s (Broadway: Bad Cinderella) grounded performance of the grief Claude grapples with in his decision after being drafted to fight in Vietnam. This performance is simultaneously countered by the rest of the company’s perseverance in the culture of peace and love in Let the Sunshine In. This perfect antithesis of an ending is what makes Hair connect with audiences sixty years after its inception.
As an ensemble with cosmic chemistry, the cast of Hair delivers piercing vocal performances of legacy songs paired with innovative, engaging staging that delivers the highest caliber regional theatre Signature is known for. Signature’s small size makes it a connective experience for a production that constantly blurs the line between audience and stage. The decision to cast people of color in all three leading roles creates a new lens to interpret the production that arguably ameliorates some of the book's thematic issues being conceived in the 1960s. With a new Age of Aquarius dawning in our society, this production of Hair reminds us all what matters: love and connection. We need this production of Hair now more than ever.
Hair at The Signature Theatre runs until July 7.
By Aidan O’Connor
