There are musicals that clearly define a generation. Representing the ‘90s, Jonathan Larson’s rock musical “Rent” told the story of modern-day bohemians dealing with AIDS, drug addiction and poverty while living in New York City’s East Village.
Go back a few decades and you’ll find “Hair” — the iconic, rule-breaking musical that rocked Broadway, with its controversial themes and that famous nude scene. Created by two Catholic University alums, “Hair” follows a tight-knit group of hippies reflecting on everything from sex and drugs, to race and religion, to war and politics.
And now, the Age of Aquarius is unbottled in a buoyant, vividly staged production at the Signature Theatre in Arlington. Matthew Gardiner finely directs this beloved counterculture musical, which delivers a powerful message underneath all the long hair, beads and fringy duds.
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Paige Hathaway is behind the far-out scenic design, crammed with signs and circles that light up throughout the show, while Jason Lyons’ dynamic lighting helps take the scenes to another level. This psychedelic era is meant to be experienced and not just watched. Characters walk through the audiences, tossing flower petals and passing out flyers to Human Be-In gatherings.
With story and lyrics by Gerome Ragni and James Rado, “Hair” carries a free-flowing vibe as it moves from scene to scene and introduces the musical’s colorful characters and all the romantic entanglements. Pregnant Jeanie is hung up on the quiet Claude (not the daddy) and social activist Sheila is hung up on Claude’s outgoing, rebellious buddy Berger. And Woof, the laidback goofball, is hung up on Mick Jagger.
The musical is lacking in linear storytelling, and sometimes it’s not clear what’s going on, but you just have to go with the flow. In one trippy, drug-induced moment, Scarlett O’Hara and Rhett Butler stand with Abraham Lincoln and John Wilkes Booth, with Aretha Franklin showing off her incredible pipes. A firmer storyline does eventually take shape and “Hair” reveals its serious side when Claude passes his draft board physical.
Now, the young man with low aspirations faces a difficult decision: Should he join his friends and burn his draft card or serve his country and join the fight in Vietnam? Claude admits he just wants to be invisible.
Signature has assembled a vigorous cast to play this eclectic group of young people, who are trying to find themselves, fight conformity and stand up for their beliefs. Jordan Dobson plays the quiet and poetic Claude, opposite Mason Reeves’ irrepressible charmer Berger. Caught in the middle is outspoken activist Sheila, played by the honey-voiced Olivia Puckett.
“Hair” is jam-packed with robustly sung musical numbers — 40 in all, kicking off with the scene-setting “Aquarius.” A mesmerizing Amanda Lee as Dionne starts off the slow burner, one the show’s biggest hits, slinkily walking down through the audience before joining the tribe.
Upbeat tunes, such as the exuberant title song, “I Got Life” and “Going Down,” mix with heartfelt tracks (“Easy to Be Hard” and “Where Do I Go”) and somber numbers like “Three-Five-Zero-Zero.”
One of musical’s most powerful moments is when the cast gathers for the devastating “Let the Sunshine In,” sung with piercing emotion and urgency. Their heart-wrenching delivery will change the way you hear this song going forward.
It’s a fitting time for Signature to stage “Hair,” which got shelved in spring 2020 because of the pandemic, as people march and gather around the world calling out for social change, peace and an end to war and violence. A scene where characters chant “Hell no, we won’t go” and hold up anti-war signs is strikingly familiar as protests calling for ceasefire in Gaza are emerging on college campuses today.
“Hair” is a vibrant snapshot of its time, full of joy, passion and youth raising their voices — their eyes wide open to what’s happening in the world.