There is a revolutionary musical that has come to define every generation: in recent years, there’s been Spring Awakening, the Gen Xers have Rent, and for the baby-boomers, there is Hair. In Hair, the year is 1968, it’s the Age of Aquarius, and everything is oh so groovy, baby. Set in Central Park, Hair follows a group of young hippies “caught up in the politics and
counter-culture of the revolutionary zeitgeist.” Written by James Rado and Jerome Ragni with music by Galt McDermot, it was radical for its time for its politically charged subject matter and X-rated depiction of youth in America.

I definitely felt groovy walking into Isabel Bader Theatre to see the Victoria College Dramatic Society’s production of Hair, which was directed by Jackie McClelland. As I took my seat, the ’60s tunes playing ensured a psychedelic ambience as the actors dreamily wandered around the stage.

The principal cast was generally strong, with some particular stand-out performances. Alex Morrow, playing tribe leader Berger, was perfectly suited to the role with his command of the stage and his infectious enthusiasm. Tyler Whitaker’s strong voice and dynamic smile were also the right fit for the stud of the group, Claude, and there was great chemistry between the leading men. It didn’t carry over, though, to the love triangle involving roommate Sheila (Emily Johnson), who seemed to lack the authenticity that the role demanded. Then again, who could forget the hilarious performance by Shak Haq, donning a blonde wig and scandalous pantyhose as the American anthropologist Margaret Mead?

This production had nearly 30 ensemble members, so some scenes were messy and overcrowded, with Mariana Gurgis’s intricate choreography ultimately getting lost and detracting from the show. But it was in the musically driven numbers that the cast truly excelled, assisted beautifully by the band led by Tara Litvack. Songs like “Hashish,” “Be-in,” and the Act One finale, “Where Do I Go,” enabled the audience to enjoy the beautiful harmonies written by McDermott.

Arguably the most popular song of the show, and a personal favourite of mine, is finale number, “Flesh Failures (Let the Sunshine In).” This song encapsulates the idea of being sent to fight in a war that no one seems to understand—whether it is Vietnam in the ’60s or Afghanistan today. It is hard not to be moved by the passion this song evokes, and though it could be a measure of my theatre geekiness, I was forced to hide behind my notebook to avoid anyone seeing the tears embarrassingly rolling down my cheeks.

It isn’t possible to mention a production of Hair without taking note of the dreaded nude scene, and each director who chooses to take on this show must make a decision on how to handle it. To nude, or not to nude, that is the question, and though McClelland chose the former, it was executed with taste and subtlety. This is just one of many ways the VCDS’s Hair stayed true to the 1968 original. So, although it was rough around the edges, it was ultimately a fun night at the
theatre.