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‘HAIR’ Culture Relived In Tribal Cult Rock Musical Opening

The Tribes listens as Berger sing the song “Donna.” Photo by Robert Colburn

The audience was transcended into the 1960 culture of the long-haired hippies adorned with thrift store layers of print, gauze, stripes, fringed vests, bell bottom cords jeans, and peasant dresses. They strolled through the “park” welcoming, loving the audience on their way to the multi-tiered commune of staged utopia. It was preview opening of the tribal cult rock musical “HAIR,” that opened Friday at the Ray Evans Seneca Theater, Salamanca.

Glenn Wahl and Todd Wagner, artistic director designed a realistic setting for the cast of twenty who shook their groove thing and sang their hearts out, bordered by the tented community walled with magical Bohemian tapestries, beaded elephant curtain, hanging batik laundry and the public wall with hippie containment including blankets, pillows and paraphernalia that afforded comfortable psychedelic tripping. The tribe gathered center stage as the joint of peace circled the group as illuminated by hues of red and blue. The recorder, sitar, Djembe along with the electric guitar, keyboard and drum kit provided a matrix that contributed to the group high. The pit was located back center below the raised universal playing area. There was a step down apron approach across the front of the stage that brought the culture within audience reach.

“HAIR” book and lyrics by Gerome Ragni and James Rado; music by Galt MacDermot which takes place in New York City during the Vietnam War tells a story about Claude (Derek J. DeVlieger), a young man from Oklahoma who comes to city and strikes up a friendship with a group of hippies on his way to the army recruit center which sparks interest and conflict as he considers their lifestyle. This tribe of hippies is lead by a young man named George Berger (Adam Johnson), who introduces Claude to a wealthy girl named Sheila Franklin (Vanessa Kavanagh) and the two fall for each other.

Their good times are cut short when Claude is drafted and goes off to boot camp in Nevada. The tribe trips into action and does what they can to rescue Claude from a tour of duty in Vietnam.

DeVlieger’s portrayal of Claude was consistent and vocally sound with honest vocals singing: I’m a genius (and) I believe in God “Manchester England;” Ain’t got long to live; And I ain’t got no love “Aint Got No, I Got Life;” and his best vocals in “Where Do I Go? And “The Flesh Failures.”

Johnson as Berger wore a fringed vest and loin cloth which was evident when he asked an audience member to hold his pants for his energetic song “Donna” which was a symbolic piece targeting Catholicism and the Madonna. Kavanagh as Sheila sang a beautiful rendition of the known song “Easy To Be Hard:” How can people be so heartless. How can people be so cruel? Her emotion was captivating.

Jamie Lee as the soulful Dionne let her hair down in the opening song “Aquarius.” Her powerful vocals were often the top of group numbers with an articulating descant. Creative movement was realistically layered in most songs be it arm motions, select dance sequences or the human wheel as choreographed by Rudi Andalora. “Hashish,” was another controversial song stoned by the tribe that used a joint as a Biblical communion host.

Dwain Graham was comfortable is his sarong as he portrayed Woof, a young animal spirit who was gay singing with powerful vocals in “Sodomy,” as backed by the tribe. His falsetto was significant.

Musical Director was Luke YerpeStock. The pit band consisted of Gary London, Lead Guitar; Sara Rafaloski, Second Guitar; Tiger London, Bass Guitar; Lauren Law, Keyboard; Brooke Skiba, Percussion and Glenn Wahl, Drums. Sound Design & Control was by Dale Wymer. At preview they were equalizing and mixing the pit, the tribe and soloist for a perfect sound at opening.

Jeanie, a sweet follower not leader seemed to know Claude the best was actually pregnant (with the Tribe’s baby). She was portrayed by Charlotte YerpeStock who sang “Air,” with Crissy and Dionne. Crissy (Katie Desautels) was a flower child mourning a lost love. She sang “Frank Mills,” as she was rolled across the stage in a 50-gallon drum depicting toxic waste “breathe deep while you sleep…”

The Tribe were the vibrant and energetic flowerchildren that stood their own in the production noted as: Gabe Grey, Kallie Bain, Katie Armbruster, Kayla Kovacs, Luke YerpeStock, Shazz Gillette, Stephanie Farrell and Victoria Kearns and Margaret Mead (Dwain Graham); Father, Hubert, Policeman (Paul Motrynczuk) and Mother (Sharon Rula Backos).

Lighting Design & Control was under the slider of Ryan Philp who scored with cues of saturated reds and blue occasionally with cool Sepia that created the psychedelic visuals necessary for this production. The time line was rather vague with no known passing reference to specific days or lapsed time. A daylight stamp here and there may have helped the audience make more sense of the chaotic nature of the continuum of the thirty songs, vignettes and transitions of the controversial themes of the race, sex, the environment, religion, politics, and astrology. This was the first experiential show to date.

The known group numbers: “Aquarius, Hair, Easy to Be Hard and Good Morning Starshine,” were spot on. The other songs told the story that may pluck a couple heartstrings and/or spark emotion, good, bad or indifferent which is impetus for theater. The nudity as the protest emphasis at the close of Act One was short and not offense adding necessary realism to the extent of freedom of expression. Act Two trips along where Claude wants to be invisible and is left alone with his doubts. The final scene is thought provoking.

Todd Wagner, Artistic Director; Dale Wymer, Technical Director; Janette McClure, Stage Manager, Cast, Running Crew and the Board of Directors of the Ray Evans Seneca Theater were bold in presenting this industry award winning production that depicts social change in America. This musical provoke legal challenges and violent reactions. Be forewarned it is for adult audiences.

The Ray Evans Seneca Theater is located in the city of Salamanca, New York at the corner of Broad Street and Main Streets. Tickets are $15 secured online at www.showclix.com or by contacting the box office at 945-1003. The show continues Saturday Feb. 25 also at 7:00 p.m. There is one matinee 2 p.m. Feb. 26.

The show repeats the following weekend Friday, March 3, and Saturday, March 4, both at 7 p.m. This theater is a proud member of the Cattaraugus County Living Arts Association (CCLAA).

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