Chris Tower • For the Enquirer
July 24, 2009
When the musical "Hair" opened on Broadway in 1968, a reviewer from
"Variety" called the show "loony" and "without a story, form, music,
dancing, beauty or artistry.... It's impossible to tell whether (the
cast has) talent. Maybe talent is irrelevant in this new kind of show
business."
Times have changed, and with a revival on Broadway winning Tony
Awards this year, Tibbits Professional Summer Theatre in Coldwater
stages its own production of the quintessential hippie musical with
astounding success.
"Hair" ranks as one of the best productions ever staged at the
historic opera house.
The energy generated by this holistic, organic ensemble is palpable
from the moment one enters the Victorian opera house. The "tribe" of
hippies has taken to the aisles and rows of the theater, interacting
with the audience, burning incense and giving out flowers. The show
also is a landmark for the Tibbits Summer Theatre being the first
appearance of African-Americans on the stage in many years, and it's
a welcome sight.
As Ronny (Lee Hollis Bussle) croons the famous strains of "Aquarius"
and the tribe gathers on stage for the opening, the best aspect of
this production is immediately and firmly established: the singing
and music and that's as it should be.
With a rock 'n' roll score numbering more than 30 tunes, the music is
the sun around which the hippies orbit and this cast and rock band
perform the music expertly and beautifully.
The quality of the musical performances is quite a relief because
some of the acting just doesn't measure up. The two main, male
characters Berger (Lars Valdor Haglund) and Claude (Beau Hutchings)
lack the kind of raw sexuality and charisma needed for their roles.
There's an electricity missing, especially with Claude, who has big
shoes to fill given the people, such as John Savage, who have played
the role before. Hutchings has a beautiful voice but his attempts at
a British accent are wildly inconsistent and inaccurate.
Berger works the audience well and is much more successful at
transforming his own characteristics to match the role than his
counterpart, but he also lacks the chemistry and presence needed to
make the role attack the consciousness like a contact high. Haglund
exudes radiant talent but never achieves the goal of "irreverent free
spirit" as the character has been described.
But the flaws created by the two main men are saved by their amazing
vocal work. Additionally, the two main women Jeanie (Tiffany Wiesend)
and Sheila (Lindsey Spencer) belt out their songs with terrific
power. The ensemble cast also adds to the fantastic music
performances, though the standouts are too many to mention here.
Though called plot-less, if there is a plot, it involves Claude being
drafted but unable to follow his peers in burning his draft card in
defiance of the government's laws. The only other plot to speak of
concerns romantic entanglements: Sheila loves Berger but is carrying
Claude's baby, Jeanie is hung up on Claude but carrying "some speed
freak's" baby and Berger is just not willing to commit or be tied
down by anyone.
Production aspects are pretty solid all through the show. Direction
by Raymond Gabica shows extensive attention to detail and masterful
organization of the free-flowing cast. Choreography is at times
astounding and inventive, though it fails the show in "I Got Life,"
but improves dramatically with "Get Down," "Hair," and the Act
One-concluding orgy "Where Do I Go?" Though excellent overall, at
times, the choreography reverts to a static inactivity that may be as
much due to the lack of trained dancers in the company as lack of
choices by the choreographer.
Given that the show promotes drug use and is very graphic about sex
in language as well as movement and costumes (or the shedding of
them), Tibbits is taking a great chance staging a show that could
offend its core audience. And yet, people underestimate and mistake
what the elder generations want to see and can handle.
Still, Tibbits should attract a younger set with its staging of the
show that most epitomizes the hippies and their summer of love. As
one of the best musicals ever staged in Coldwater, this is must-see
theater for the 2009 summer of love revival.
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