Reviews

Hair

CanStage’s exhilarating new production of the 1968 rock musical is a roaring success.

Craig Burnatowski and Jamie McKnight in Hair
(Photo © Cylla von Tiedeman)
Craig Burnatowski and Jamie McKnight in Hair
(Photo © Cylla von Tiedeman)

Perfect timing. That, in more ways than one, is what makes CanStage’s current revival of the taboo-trashing 1968 musical Hair such a roaring success. Acccording to director Robert A.Prior, who has worked closely with composer Galt MacDermot and co-author James Rado on altering the script, “Our choice has been to approach the piece as living history. The show was revolutionary when it opened in 1968 and radical in 2006.” But the really perfect timing is displayed by the brilliant, immaculately prepared members of the ensemble cast, who never sing an off note or set a foot wrong throughout a show that contains 46 musical numbers.

Above all else, Hair is sincere. The story, by Rado and the late Gerome Ragni, revolves around Claude (Jamie McKnight), who has received his draft notice and is wondering whether to obey it or burn it. He’s prodded by his close friend Berger (Craig Burnatowski) to make love, not war, while other members of “the tribe” comment on the issues of the day. We’re frequently reminded that we’re watching high school kids who are dealing with Love and Death, Sex and Drugs, and, oh yes, Rock and Roll. Hair is about a spiritual quest, but it’s also about sex, and it’s full of beautiful bodies — sometimes nude — writhing, combining, and rejoicing.

Under the sure hand of musical director Steve Hunter, the score sounds consistently exhilarating. Meanwhile, the engaging, high-speed choreography of Stephen Hues brings cheers from the audience. (Hues and Prior previously collaborated on the multimedia show Ramayana 2K). And just when you think you’ve seen and heard it all, there comes the finale, “Let the Sunshine In,” which builds from a bitter lament into an anthem of hope. By the time the last note has sounded, the audience is nearly as exhausted as the performers.

The entire cast shines, yet there are some true standouts. McKnight possesses great physical beauty as well as an arresting voice. Karen Burthwright is wonderfully effective as Sheila, combining a powerful voice with a commanding presence, especially in the show-stopping “Easy to be Hard.” Andrew Kushnir is sexy and funny as Woof, while Matthew Boden does a wonderful comic turn as a singing Margaret Mead.


The creators of this production only stumble in their attempt to modernize the show through the use of current computer technology. The rear wall of the set functions as a giant projection screen — but, at the performance under review here, it didn’t function at all due to a technical glitch. Yet it’s possible that many people in the audience, lots of whom appeared to be over 60, didn’t notice, mesmerized as they were by all the energy on stage. With this production, CanStage not only boosts its reputation as Toronto’s hottest spot for energetic theater; it also proves that the Age of Aquarius can live again.