Hair Revival Even Better on Broadway

The current Broadway revival of Hair had a somewhat tumultuous road to Broadway. Even after the show's phenomenally successful run last summer at the Delacorte Theater, former lead producer Elizabeth I. McCann reportedly had trouble capitalizing the show. So the Public Theater brought in Spring Awakening producers Jeffrey Richards and Jerry Frankel to finish the job. The show's opening night moved from March 5th to March 31st to accommodate the shakeup. In a recent post, I wondered whether the show would retain its Central Park luster amid the tumult.

It most certainly has. And then some. Most of the praise that I heaped upon the show in my review of its Central Park stint still stands. In fact, I found the show even more powerful the second time. Sure, the show works really well alfresco, but that doesn't mean it can't work just as well in a proscenium house. The Broadway production achieves a sense of clarity and dramatic purpose even greater than that of the Central Park production, although that may simply be a function of my becoming more familiar with the piece.

Director Diane Paulus and choreographer Karole Armitage have teamed up to achieve a feat of theatrical alchemy, concocting a show of such raw passion and emotional honesty from Gerome Ragni and James Rado's unfocused and seemingly random book. The linchpin of the show's appeal lies in the seemingly endless joys of the Galt MacDermot score, paired with Rado and Ragni's colloquial, erudite, and often profound lyrics.

Another essential element to the current production's appeal is its talented cast. The frenetic Will Swenson thankfully returns as Berger, and he remains the sexy and energetic soul of the production. As much as I enjoyed Jonathan Groff as Claude, Gavin Creel brings a bit more gravitas and conflict to the role. But this is really one of those shows in which the ensemble work makes an essential contribution, and fortunately most of the cast seem to be focusing their efforts in support of the piece, rather than in personal showboating, although there were a few minor performers who seemed more intent on auditioning for their next role than in serving the present production.

Many people questioned Hair's commercial transfer: why would people pay more than $100 to see a show that they could have seen for free in the park? Um, because we don't all live in New York City, folks. And even if we did, we might not have had to time to get up at 3AM to stand in line for a ticket. Since the show began performances at the Hirschfeld Theater in March, its weekly grosses have risen steadily, as has the attendance percentage and the average ticket price. And it's the heavy favorite to win the Tony Award for Best Revival of a Musical.

So, Hair seems to be triumphing over the naysayers. For me, it's the one unqualified artistic and commercial success of the season, at least as far as musicals go. And I urge every one of you out there who has a chance to see the show to do so at your earliest opportunity.

Comments

[Scot Colford]

Oh man, I gotta see this. I grew up listening to the original cast album, which, you can imagine, is kinda weird for a kid. I used to wake my parents up at night because I'd crawl downstairs and put Aquarius on the hi fi. But other songs on the recording were the really weird part. You know, like running down the street singing to "Sodomy" at the top of my lungs. Not kidding. And I know Liz Callaway uses that same line, but I said it first.

I've collected various recordings of HAIR for quite some time now, and I just downloaded the MP3 album of the new cast. I entirely approve. I loved the Actors' Fund benefit recording a whole heck of a lot, but this latest really blows the pants off of it. Maybe with the exception of the fabulous "Electric Blues" on the Actors' Fund disc. But hey. So much better than the original over-age, under-talented Claude and Berger on the original, as entrenched as the original recording is in my memory.

My one question to you, Chris: Have you ever seen a production of HAIR before that used the same orchestration of "Don't Put It Down" that the current revival uses? I heard it on the recording and freaked out. I saw a university production back in 1985 when I was in high school, and they did the same thing. All bluegrassy or whatever. Hillbilly, if you will. But the original is just kind of... well, bad. I *love* this new arrangement, but didn't know if it was established somewhere prior to the production I saw.

Anyone? Anyone? Bueller? Anyone?

[Chris Caggiano]

Scot: Yeah, the new cast recording is pretty frickin' kick-ass. I haven't listened to the whole thing yet, but I love what I hear so far. Swenson comes off every bit as dynamic on the recording as he does live, which is some feat.

As for "Don't Put it Down," I agree that the new recording is vastly superior to the one on the orginal cast recording. A much fuller sound, better vocals, and yeah the bluegrass feel of the orchestrations really make the track come alive. I haven't seen any other professional productions of the show, but none of the other recordings that I have of the show feature the same orchestration, at least that I can recall.

Definitely make it a point to get down and see Hair on Broadway. They're launching a tour next year, but you really want to see Swenson and Creel. Well worth the trip.

[Scot Colford]

Oh. And what I wouldn't give to be 18-21 again so I could play Claude.

[Scot Colford]

Awesome. That university production I saw was unusual in many ways, so I didn't know if this was a coincidence or what. The production I saw had Margaret Mead narrating the show as if she were studying "The Tribe" as, you know, a tribe. She even sang "My Conviction". I didn't care for that. But I did like that Southern take on "Don't Put It Down."

I'm working on my sources to get tickets. :-)

[Chris Caggiano]

Scot: Margaret Mead is in the Broadway version of the show, and she does in fact sing My Conviction. She's not identified as such during the show but she is in the Playbill. And Andrew Kober is an absolute hoot in the part.

Sounds like that college production played a little fast and loose with the script, but at least they didn't add the character of their own volition. She's already in the show.

[Esther]

Hey Chris,
It was great seeing this with you and having someone to talk it over with!

Like Scott, I was listening to the original cast recording before I saw the show onstage or even the movie. (I saw a touring production in Syracuse years ago.) Even when I didn't go to the theatre a lot, I always loved the music from Hair.

The music is still joyous and hearing it live was wonderful. I felt like I was at 1960s fantasy camp.

I definitely agree with what you said about the passion and honesty. It doesn't sugarcoat the 1960s - it's a very serious musical in terms of what young people, especially young men of draft age, faced back them. I was surprised that it included some iconic and powerful images from the decade.

And how cool is it that the show ends with an invitation for the audience to join the cast onstage. I made my Broadway debut! What an adrenaline rush, definitely one of the most thrilling experiences of my life.

I would love to go back and see it again.

[Will]

I couldn't agree any more with the comments (and the above review) here. Just yesterday I had the great pleasure to see "Hair" for my 3rd time. Once in row E, once in row A and yesterday (on a lark) went down to the Hirschfeld and took a chance on the "Be In" rush tickets and WON. I am falling madly in love with this show (and cast). I wish them all the luck in the world next Sunday. I think if they win the Best Revival Tony, it will blow the doors wide open for them and you won't be able to get a seat for love nor money!!!!! Fingers crossed.
Love this site BTW. Chris is the MAN!!!!!!

[Chris Caggiano]

Will: Thank you for your kind words about my site. It's not often I'm referred to as "the man."

I'm glad you liked the show. It's my hope to get down to see it again, or at the very least to see it on tour.

Hare Krishna.

--cc

[Chris Caggiano]

Esther, my love, my sense of joy from seeing Hair was enhanced immeasurably by sharing the experience with you. Here's to many more shared theatrics in the future.

[Kevin]

Not merely one of the best theatrical experiences I've ever had, but quite possibly one of the best nights of my life, period. I would love to relive this one today, if I didn't have to coordinate intercontinental skype calls for my parents this evening, I was going to try the rush lotto again.

Always enjoy seeing you and Esther when you come to town!!