54 Sings Hair

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54 Sings Hair

Feinstein’s/54 Below, NYC, July 24, 2016

Reviewed by Marilyn Lester for Cabaret Scenes

54-Sings-Hair-Cabaret-Scenes-Magazine_212Hair: The American Tribal Love-Rock Musical was the Hamilton of its day and, like Hamilton, was incubated at the Public Theater, moving on to change the landscape of Broadway in far-reaching ways. Hair debuted in April 1968 during a period of war (Vietnam), racial unrest, a divided country and great social chaos. Among its strong messages and themes were unity, equality, freedom, justice, peace and love.

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Producer, director and host Scott Coulter did a splendid job of curating this mini Hair revival, assembling original, revival and touring cast members. He created an atmosphere of fun and camaraderie for performers and audience members alike. The tone was set by the opening number “Aquarius,” sung by the company, with chorus members dancing among the patrons. From there the Hair journey went into territories of questioning and the unknown with “Walking in Space,“ sung by Lauren Elder and “Where Do I Go?” sung by Max Chernin. Songs such as “Colored Spade” performed by Antwan Hopper, “Black Boys” sung by Natalie Mosco and “White Boys” performed by Blaine Krauss, addressed racial issues. Heather Mac Rae sang about social injustice in “Easy to Be Hard,” while Dale Soules worried about “Air.” Of course, there was the eponymous “Hair,” sung by Jared Weiss.

Coulter’s vitality and enthusiasm and tidbits about the show’s history kept the room’s energy up and the pace lively.

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It was also a treat to have lyricist James Rado in the audience, along with original choreographer Julie Arenal. Rado and fellow lyricist and bookwriter Gerome Ragni, along with Galt MacDermot, who wrote the music, created a literate, smart, life-empowering musical. Hair was ultimately a celebration of life, as evidenced in “Good Morning Starshine,” sung by Emily Bindiger, Diana DeGarmo with “I Believe in Love” and Michael Wartella’s “I Got Life.” Love beads and tie-dye may be a thing of the past, but Coulter and cast communicated brilliantly that the message of Hair is still relevant. By the time the last number was over—“The Flesh Failures (Let the Sunshine In)” performed by Allan Nicholls, Coulter, Mary Claire Miskell, DeGarmo and  the company—the vibration in the room had soared to dizzying heights of hope and happy.

Musical direction was by pianist Michael Holland, with Thad DeBrock (guitar), Carl Carter (bass) and Donna Kelly (drums). Other cast members were Marjorie Lipari, Kacie Sheik, Shaleah Adkisson, and chorus members Miskell, Clara Regula, Alex Gelin, Jeanine Bruen, Sarah Treano, and Rachel Dickson.

Marilyn Lester

Marilyn Lester left journalism and commercial writing behind nearly two decades ago to write plays. That branch in the road led to screenwriting, script-doctoring, dramaturgy and producing for the stage. Marilyn has also co-authored, as well as edited, books. It seemed the only world of words she hadn’t conquered was criticism, an opportunity that presented itself via Theater Pizzazz. Marilyn has since sought to widen her scope in this form of writing she especially relishes. Marilyn is a member of the Authors Guild, Dramatists Guild, Women in the Arts and Media and The League of Professional Theater Women.