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Regional Reviews: Phoenix Hair Also see Gil's reviews of Tarzan and Legally Blonde
Hair focuses steadily on a tribe of hippies and the journey of a young man named Claude. It is mainly a series of musical vignettes featuring songs that introduce the characters, with only minimal dialogue to give a few plot points to connect the dots between the relationships the leads share. But even with the spare book, the main plot is fairly easy to follow: Claude is caught up between the pull of his uptight parents, who want to send him off to the army, as they think it will make a man out of him, and the three-way relationship he shares with the crazy, radical Berger, the leader of the "Tribe," and the highly political Sheila. Torn between his allegiance and love for the Tribe and doing what his parents want, Claude makes a decision that ultimately sets his unfortunate future in motion. Even with the serious overtones and harsh realities of the period, the continued optimism of the Tribe and the joyful songs are what ultimately make Hair a joyful experience. Also, the virtually non-stop, memorable music washing over you and the enthusiasm of the Desert Stages cast help to offset the show's several shortfalls in terms of plot and character development. Director Samuel E. Wilkes has found an energetic troupe of actors to bring the tribe to vibrant life, full of passion and love but also not afraid to portray the harsh realities of the period. Anthony Chavez brings a heightened, yet almost peaceful, sensitivity to Claude but also effectively shows us the internal struggle he feels. Colin Ross is full of life as the crazy and wildly charismatic Berger, and he should be commended for his senseless abandonment by way of prancing around in just his underwear for most of the first act. Both Chavez and Ross have clear voices that bring their solos alive. Alanna Kalbfleisch adeptly portrays Sheila, the radical protestor who struggles with the love she has for both of these men. Kalbfleisch is quite good in showing how Shelia feels when she isn't always treated appropriately by both men. Her warm vocals make "Easy To Be Hard" both beautiful and heartfelt. There isn't a vocal misstep among the ensemble members of the free spirited Tribe. A few highlights include a touching "Air" solo by Elizabeth Neitge as the very pregnant Jeanie; "Frank Mills," which is sweetly sung by Tara Mulligan with a well-acted delivery of the lyrics; and Alan Khoutakoun's thoughtful "My Conviction." Also memorable is Micah Jondel DeShazer's direct delivery of "Colored Spade" and Rhetta Mykeal's earth mother rendering of "Aquarius." Nathaniel Tenenbaum is a hoot as the free-spirited Woof, and Jamie Grossman and Nathan Spector sensibly, and humorously, portray Claude's parents. Wilkes' exuberant direction makes excellent use of DST's in the round staging, providing a heightened sense of intimacy in the small space without having the actors get directly in the faces of the audience. Wilkes has not only honed meaningful performances from his cast but creatively stages the songs and scenes in neverending and always changing movement. From his use of the ensemble to portray people on a bus, including having the African-American Tribe members sitting in the back, during "Colored Spade" to the act one finale "Where Do I Go?" that effectively shows the pull between Claude's parents and his Tribemates, Wilkes makes superb directorial choices. Even his staging of the hallucinatory montage appropriately keeps Claude at center stage throughout so we never miss the point that everything we are witnessing are extracts of Claude's drugged-out dreams and nightmares. The only moment that might use a little clarifying is the ending, which could pack a little more punch, as the fate of one character is played in one corner and not center stage where it would be even more powerful. Nicole L. Olson's choreography is period centric yet still feels fresh. Mark 4man's expert musical direction includes an abundance of memorable moments, including some lush harmonies during "I Got Life." Tamara Treat's costumes are a non-stop parade of flower power, tie died designs that combine expertly with Jacob Hamilton's period perfect hair and make-up designs. Matt Stetler's beautiful lighting design include many highlights, especially the non-stop light show during "Three Five Zero Zero." Almost fifty years after it first premiered, Hair could be perceived today as just a nostalgic period piece, yet DST's passionate production proves that the journey of Claude and the members of the Tribe still resonates today. While Hair's book may be slightly confusing, and DST's production can't solve every problem with the show, it still results in a moving and uplifting piece of theatre. Chock full of memorable tunes and vibrant performances, DST's production is also beautifully directed with moving, impressive performances. For more information on Hair at Desert Stages Theatre in Scottsdale, that runs through August 9th, 2015, call 480 483-1664 or visit http://desertstages.org. Book and Lyrics by Gerome Ragni and James Rado Cast:
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