Wolverhampton Grand Theatre – until 27 July 2019
Reviewed by Joanne Hodge
3***
At it’s inception in 1967, Hair (Book & Lyrics by Gerome Ragni & James Rado) caused quite the controversy, being a piece of protest theatre set directly in it’s own time. Middle America was – as we may say now – ‘shook’ by it’s brazen depiction of hippy culture; free love, drug-taking and an anti-establishment stance.
We follow The Tribe, living in New York’s East Village during the Vietnam War, through the trials and tribulations of adolescence to adulthood, including parental rebellion, unrequited love, and the weight of expectation that they should become good Americans.
Maeve Blacks’ set and costume transport us directly back to heyday of the hippy, each perfectly balancing the other in a rainbow of colour and texture.
Jake Quickenden (X-Factor), as unofficial leader of ‘The Tribe’ Berger, begins the narration, leading us in to the opening musical number Aquarius. Instantly recognisable, the cast gave a rousing rendition to welcome the audience to the world of Free Love.
Although Jake’s first musical theatre role, he played Berger as a provocative, promiscuous and somewhat flamboyant character, with seasoned professionalism. Not being familiar with the show beforehand, I get the feeling Berger is that arrogant-yet-loveable rogue that you really shouldn’t fall for, but do. And if that’s what he was going for, it worked!
Other notable performances came from Paul Wilkins as Claude, Berger’s close friend and cohabitee, and the third member of their somewhat complicated triangle, Sheila – played triumphantly by Daisy Wood-Davies (Hollyoaks).
The main theme of the story is Claude’s inevitable call-up to the American Army, with the heavy-weight hanging over him that if he does enrol and pledge allegiance to his country and flag, he will certainly be sent to Vietnam to fight a war he and The Tribe are passionately against.
Claude is understandably torn, his heart heavy from the expectation of his parents, his Tribe and his country – all of which he loves in his own very different ways.
The show continues through a turbulent rollercoaster of musical numbers, from sexual to hallucinogenic, heart-breaking to all-consuming love. Special mention should go to Aiesha Pease as Dionne, who shone with every emotive note. I would certainly be excited to see her in any of her future roles.
I have to say, that whilst it’s clear the cast easily display the camaraderie that any Tribe should, and all have superb voices, I feel the sound may have let them down in a way they never would each other.
It’s great to have a live band on stage with the cast – indeed it gives authenticity to Hair as one of the great rock musicals – however, with minimal spoken dialogue, you rely upon the clarity of the lyrics to help you understand, and indeed follow the story. With the ensemble at full pelt for most of the 150-minute running time, this was more often lost. It also meant that the show’s notorious ‘nude scene’ – though staged perfectly – seemed out of place, as I just didn’t understand where it had come from. I left feeling that I myself was in a drug-fuelled haze, not quite sure exactly what had been happened in front of me.
Don’t get me wrong, Hair is certainly a show I’d see again, and if the sound issues were resolved, I’m certain I would leave feeling that I, just like The Tribe, could do whatever I wanted.