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

Tommy - Review

Theatre Royal Stratford East, London


*****

Music and lyrics by Pete Townshend

Book by Pete Townshend and Des McAnuff

Additional music and lyrics by John Entwhistle and Keith Moon

Directed by Kerry Michael

Ramps On The Moon’s production of Tommy, directed by Kerry Michael, is a truly wonderful production. As the rock opera created by The Who is famously about a “deaf, dumb and blind kid”, so does this work build upon a cast, at least half of whom triumph in their performance over a range of disabilities.

The story telling is clear and alongside Michael’s deft and moving direction, Mark Smith (himself deaf and who choreographed a stunning Tommy two years ago at Greenwich) again does wonders with his dancework, offering yet even more truth and honesty to the complex moralities of the tale.

The casting is ingenious. Peter Straker’s Acid Queen is astonishing vocally, with a stage presence alone that exudes power and is worth the price of admission! Pete Townshend has even written him a new song in Act 2, that rounds off his character perfectly - and remember: when Tommy first played in the West End in 1979, Straker was the show's Narrator. 

Shekinah McFarlane’s take on Mother is out of this world - this talented performer has a voice that firmly places her in the diva category as she remains one to watch. 

In the title role, Tommy is played beautifully and emotionally by newcomer William Glint. When he sees his father for the first time and shouts out ‘Daddy’, spines tingle. Max Runham sings powerfully as Captain Walker and his scenes with Glint are very touching. Garry Robson is a suitably gruesome Uncle Ernie.

The whole ensemble play, sing and dance many roles throughout the show, with a mention too to Robert Hyman’s sensational band, who break out into character parts as well as playing their instruments.

This Tommy is a magnificent production that serves to highlight the scarcity of disabled people on stage generally and it is a shame that it takes a ground-breaking production like this to point that out. Hopefully more theatre companies will be inspired by this example.

Reviewed by Trevor Davies

Touring until 1st July

Parade (at Hope Mill Theatre, Manchester) - Review

Hope Mill Theatre, Manchester


*****


Music & lyrics by Jason Robert Brown
Book by Alfred Uhry
Directed by James Baker

The company of Parade

As musicals go, Jason Robert Brown's Parade is a tough gig. His Tony-winning score is an immense fusion of the sounds of America’s South, tackling a monstrous story of love in adversity and the utter depths of man's capacity to hate. The Leo Frank trial in the early 20th century split America, laying bare the racist core of the Confederacy. 80 years later, Brown's show was to become a troubling piece that held a mirror to its country’s soul - a mirror that to this day a large part of that nation still resolutely refuses to look in.

One of the first productions to be mounted in this newest of Manchester's venues, the old mill building lends itself well to Parade's disquieting storyline. Tough shows however require a strong cast and in this ensemble James Baker has assembled a company of standout performers. The show opens with the uncomfortably stirring The Old Red Hills Of Home and playing the Young Soldier, Aidan Banyard sets spines tingling within the first 30 seconds. As the show unfolds Banyard's vocal magnificence is found to be replicated throughout the entire cast.

Any production of Parade has to rest on strength in its leads of Leo and Lucille Frank. Tom Lloyd shines as the unfortunate Jewish accountant who finds himself framed and racially persecuted for a crime he did not commit, the rape and murder of a 13yo. Lloyd captures Frank's stubborn indignity perfectly, his slight frame metamorphosing into a performance of utter litheness in Come Up To My Office, before slumping back into quiet and purposeful, pleading, principle within It's Hard To Speak My Heart.

More than a match for Lloyd, Laura Harrison's Lucille brings a stunningly voiced maturity to the Southern belle that is Frank's troubled wife. Her initial uncertainty as to his innocence, that slowly forges itself into a righteous defence of her innocent husband is one of the finest female turns seen this year. Brown has written Lucille some spectacular numbers and Harrison brings an especially beautiful resonance to You Don't Know This Man, alongside the heartbreaking irony of her powerful duet with Leo, All The Wasted Time.

There is not a weak link in this cast. Memorable for their multi-role excellence are Matt Mills and James Wolstenhome. The sole black man in the cast, Mills has to pick up all of the parts that demand an African American male - and in playing wily convict Jim Conley, Mills displays a sublime mastery of the blues. There is an unsettling insouciance to his manner that only adds to the show's momentum. Mention too, here, for Shekinah McFarlane's Angela with a performance that more than suggests Cynthia Erivo's style and presence in its pedigree.

Wolstenhome however is simply a chameleon of performing excellence. It is hard to believe his Governor Slaton is played by the same man who also plays the (sometimes gutter) journalist Britt Craig, with his take on Craig's big number, Real Big News proving flawless, shocking and exhilarating.

Andrew Gallo's manipulative prosecutor (and Governor in waiting) Hugh Dorsey brings just the right amount of deviant corruption to the politics of his game, likewise Nathan Summer's portrayal of the evil Tom Watson. Spewing racist bile through the medium of hymn, Summer chills as he taps into the South's collective frustration at their racial purity being defiled,

The show's staging is inspired, with Baker using the mill's full space alongside William Whelton's clever choreography, to jar our attention. If one or two of his directions have wandered slightly off-piste it's no big deal - the strength of this show lies in the stripped-down excellence that Baker coaxes from his actors.

Musically, Tom Chester directs a 9 piece band that pays magnificent service to Brown's musical maelstrom. And in a nod to the trio of Chester, Baker and producer (and local girl) Katy Lipson, Manchester is unlikely to have seen many fringe performances assembled to such a high standard of production value. If you're coming from afar, the show is well worth the train fare. If you live in the North West, Parade is unmissable.


Runs until 5th June
Photo credit: Anthony Robling


Click here to read my foreword to Parade.