For two and a half hours last Wednesday evening, the Golden Gate Theatre became a time machine, for those of us who lived through the sixties and for those who know its lore as well.
Daring for its time, Hair skewered every hot topic—racism, homophobia and the political and religious establishment. Art imitated life with protest signs sporting slogans like “I saw God and She’s Black” and “Resist the Draft.” Then of course, there’s that infamous draft card burning scene.
In early 1968, one month before the Tribal Rock Musical’s first Broadway opening, Robert Kennedy was told to get a haircut because “no one wants a hippie for president.” And he did.
What primal emotions did hippies evoke that sent mainstream America into such a frenzy? Fear? Envy? Sixties expert Mark Kurlansky posits that Hair was hugely successful because it raised a curtain (literally) on the hippie lifestyle.
The 2011 Hair experience began in the lobby, with young people distributing daisies and serenading the crowd. This created a remarkable sea of people, regardless of age or gender, wearing flowers in their hair. A face painter was also on hand to bestow glittery peace signs.
An exuberant Aquarius kicked off the show, a fast moving kaleidoscope of memorabilia. The whole experience was rewarding, but the musical really caught fire halfway through the first act with I Got Life. This was largely due to Paris Remillard’s charismatic embodiment of Claude.
Mood shifts were accomplished with changing colors of the simple but ingenious main set graphic. The orchestra disappeared into the set, and meticulously rendered the Gerome Ragni and James Rado score.
Mike Evariste as Hud was very imposing in his solo Colored Spade. Steel Burkhardt was fine as Berger, and Sara King was stunning as Sheila. But Remillard’s performance hit me right in the solar plexus. He evoked both strength and pathos.
The choreography was clever, especially in the numbers Manchester, England and Hair, but the real star was the music. As always, White Boys/Black Boys was pure delight.
Hare Krishna was arguably the best number, as the cast processed sinuously down the aisles to its majestic melody. The song dissolves into a psychedelic festival, as Berger, a key catalyst for mischief, feeds Claude LSD.
The unforgettable genius of Ragni and Rado’s words has held up nicely for 40 plus years:
- “I’m lookin’ rather attractive now that I’m radioactive.”
- “I’m lost in the unfathomable infinities of your eyes.”
- “Army AB-duction Center”
- “Blessed is the Fruit of the Loom.”
Audience interaction throughout the play was effective. the actors stood on seats, panhandled, knelt in the aisles and kept the already enthusiastic opening night audience’s energy up.
Diane Paulus and company got it right this time, keeping the evils of war center stage. “How Dare They Try to End This Beauty?” Indeed.
Written by Gerome Ragni, James Rado, and Galt MacDermot. Directed by Diane Paulus. Through November 20. $31-$95. Golden Gate Theatre, One Taylor Street, San Francisco (888) 746-1799. SHN.
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