Hair - Review

The Vaults, London

****

Music by Galt MacDermot

Book and lyrics by James Rado and Gerome Ragni

Shekinah MacFarlane and the cast

Transferring down from Manchester’s Hope Mill Theatre, Jonathan O’Boyle’s production of Hair is an exciting revival of a show that was to define so much of the 1960s. Following a “tribe” of Manhattan hippies Gerome Ragni, James Rado and Galt Macdermot’s musical explored a range of modern music genres as a narrative evolves that focuses on racial integration and social and political challenge. The story plays out under an overarching theme of copious drug consumption in New York while on the other side of the world the much loathed Vietnam conflict rages. Hair blazed a trail for challengingly political musical theatre - indeed, swap the slaughter and sacrifice of Vietnam for the ravages of HIV and Hair becomes an arguable precursor to Rent.

While the show’s themes remain noble in intent, Hair is very much a museum piece. A Trump themed intro (and even a re-written song from Rado to reference POTUS #45) fail to convincingly shift the show’s message into the 21st century though perhaps this is not surprising with the nature of protest itself having changed over the decades. Fuelled by the internet and social media, the world has evolved into a far more cold and cynical place from the flower-powered idealism of 50 years ago.

That being said, Hair remains a cracking cultural milestone and while Ragni and Rado’s cooky storyline is probably best savoured under the influence of (modest) intoxication, it is clear that O’Boyle has assembled a stunning company for his revival of a show that is packed with iconic songs.

In what is very much an ensemble piece that demands a strong company throughout, the Tribe are led by close friends Berger and Claude. Berger remains committed to the peace-loving hippie cause as the show’s arc sees Claude ultimately enlist. Andy Coxon brings a commandingly lithe power to Berger as Robert Metson’s Claude presents a far more complex character (albeit one who can give a gorgeous Mancunian twang to Manchester, England!) While we may not understand Claude’s motive for enlisting, Metson ensures that at all times his character demands our sympathy.

The casting is excellent and at times, sensational. There is standout work from Shekinah Macfarlane whose Dionne kicks off proceedings with an ethereally energetic Aquarius. Laura Johnson's Sheila accompanies herself on guitar in a heartbreakingly gorgeous interpretation of Good Morning Starshine while in the first half, a white gloved Jammy Kasongo as Hud briefly electrifies with Colored Spade as Natalie Green puts in a tiny, perfect cameo as Mom.

Andy Coxon and the cast

The driving energy of this revival is powered by Gareth Bretheton’s 5 piece band and especially Tom Hutchison’s stunning work on drums. Macdermot’s melodies span a range and fusion of styles and in one of the most impressive bands to be seen in off West End theatre for quite some time, Bretherton gives the score and the show a pulsating, rock-based intensity.

As a venue The Vaults is potentially perfect. Draped in ribbons and yet, literally tucked under the rumbling tracks of Waterloo Station, it hints at the grimy squalor of a squat. Acoustically however, the challenges of a railway basement have been well addressed with the show’s sound design (Calum Robinson and Max Perryment) proving virtually perfect.   

For some in the audience Hair will offer nostalgia, for others chance to discover, or re-discover, a musical that was to break the cultural mould in so many ways, in the process giving rise to some modern yet timeless numbers. It’s a great night at the theatre.

Runs until 13th January 2018
Photo credit: Claire Bilyard

Billie and Me: Patti Boulaye Live at Zedel - Review

Live at Zedel, London,

****

Patti Boulaye

It's nigh on forty years since this reviewer first clapped eyes on Patti Boulaye. Her braided hair in tight plaits, Boulaye lit up our TV screens on a Saturday evening, becoming the only competitor in six series of the New Faces talent show to get a maximum 120 from the four judges (but Les Dennis got 119!).

Heaven knows what she sang, but you simply couldn't take your eyes off her and yet she had stumbled into show business almost by accident. Arriving in London from Nigeria at 16, Boulaye thought she was standing in a queue for tickets for Madame Tussaud's, only to discover it was the line for auditions for Hair that was then playing in the West End. Having waited so long, she figured she might just as well have a go, and thus landed her first part.

New Faces later gave her national exposure but although she got some good work – including the lead in Carmen Jones at the Old Vic in the early 1990s - Boulaye never really made the big time that someone with her stunning talent and fabulous voice deserved.

She reminded us of her vocal scope when she launched into Dat's Love from Carmen Jones and although she dealt movingly with the big Holiday numbers (the notorious Strange Fruit, made more notorious for being banned by some radio stations!) God Bless The Child and Lover Man, there was a lot more than Billie in Boulaye's joyous hour and half.

Her own composition In My Memory, a love song to her family, was simple and gorgeous while the raunchy songs of those blues greats, Bessie Smith and Alberta Hunter, with their rude double entendres, The Kitchen Man with his impressive "sausage meat" and Rough and Ready Man had her audience in stitches. They certainly don't write ‘em like that any more, nor the Etta James classic At Last, beautifully achieved by the dazzlingly dressed Boulaye - shimmering black for the first half changing to starry silver for the later numbers.

Boulaye even gave My Way a new depth, justifying its inclusion because Sinatra had always said how much of an influence Billie Holiday had been on him. Mike Moran's musical direction was impeccable.

Reviewed by Jeremy Chapman

Ray Shell - Back To Black

The Pheasantry, London

*****

Looking younger than his years Ray Shell skates through the decades of a remarkable career on stage in his cabaret Back To Black, in residence at Chelsea's Pheasantry for this week only. Few other performers define the crossover between soul and musical theatre as does this man and like fine molasses, the resonance of his gloriously weighted tone fills the intimate basement venue. When he sings Friends from Sweeney Todd you only wish that the show could be re-staged with Shell as the barber, it is the most gorgeous sound.

That his set list includes nods to Hair as well as to Kate Bush (no intended connection with that link but 70s savvy folk will see what I did there) is a mark of the man. When Shell sings What A Piece Of Work Is Man from Hair, (itself one of the few Shakespeare soliloquies to have made it into a rock musical), his take on the song, as with so many of his numbers, is exquisite. In recent years Shell has featured in The Lion King and The Bodyguard, neither of which are referenced in the show, but it was his creation of the steam engine Rusty in Andrew Lloyd Webber's Starlight Express that sealed his reputation on this side of the pond. Throughout Shell’s patter is warm and informative, frequent references to Starlight Express (he reveals that a skating double was used for Rusty's races around the theatre, while he stayed firmly on the level backstage) lead into his closing number of the night, the show's title song that sees his magnificent tenor reach extend into a fine falsetto. For those who recall the opening of that crazy dangerous show at the Apollo Victoria, the moment is a spine-tingling trip back in time some 30 years!

Other highlights are an a-capella take on the Gospel classic (and Parade inclusion) There Is A Fountain Filled With Blood, whilst his cover of The King Of Pain and Wrapped Around Your Finger, reminds us that the man's craft is timeless. Sting made the songs famous and Shell (who toured with The Police as a backing singer) re-interprets them with panache. Guest slots from Chardel Rhodean and Anthony Barclay provide a modest contrast as Shell joins his three backing singers in their support, but it is “Soul Man” Shell who defines the night.

Paul Jenkins directs a slick three piece musical accompaniment to the night and toes tap throughout the room as Shell, sporting Jonathan Pryce’s Engineer shirt from Miss Saigon, encores with a beautifully toned cover of Amy Winehouse’s title song for his show. A newcomer to London’s cabaret scene, (Shell confessed that this was the first time he had performed Starlight Express off roller skates) the star quality of his set demands that he returns soon. Barely scratching the vast repertoire of his career, there is simply so much more we want to hear from him. Back To Black is a rare chance to hear an exceptional voice, not to be missed.

Runs until 22nd February