Join The Be-in at CSC's Memorable Concert Production of the Iconic Rock Musical, Hair
By Kiersten Bjork (November 23, 2024)
Hair in Concert at Connecticut Stage Company (CSC) is an enjoyable concert experience that has you swaying along to iconic songs and humming the memorable melodies from start to finish. CSC produces live concert productions of well-known musicals, with past shows including Little Women and Into the Woods. Their stage is within the New Canaan Library, which, although it is intended as a stage space, is not outfitted the same as a standard theatre would be in terms of lighting and sound capabilities. Despite the restrictions of a non-traditional space, CSC once again succeeds in creating an interesting piece of theatre that audiences clearly enjoyed.
Hair, with book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermont, is a rock musical known for its iconic music and hippie/counterculture style, as well as its at times controversial depictions of drug use and onstage nudity, and the overt sexual nature of the show. CSC’s production chose not to employ nudity, and with the style choices made for this rendition, it did not seem to be missed. Despite the potentially risky material, the audience in the library was loving every minute of the show on the night that I attended – though a few younger children did not return after intermission, and perhaps were not the right audience for such a show.
Hair in Concert at Connecticut Stage Company (CSC) is an enjoyable concert experience that has you swaying along to iconic songs and humming the memorable melodies from start to finish. CSC produces live concert productions of well-known musicals, with past shows including Little Women and Into the Woods. Their stage is within the New Canaan Library, which, although it is intended as a stage space, is not outfitted the same as a standard theatre would be in terms of lighting and sound capabilities. Despite the restrictions of a non-traditional space, CSC once again succeeds in creating an interesting piece of theatre that audiences clearly enjoyed.
Hair, with book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermont, is a rock musical known for its iconic music and hippie/counterculture style, as well as its at times controversial depictions of drug use and onstage nudity, and the overt sexual nature of the show. CSC’s production chose not to employ nudity, and with the style choices made for this rendition, it did not seem to be missed. Despite the potentially risky material, the audience in the library was loving every minute of the show on the night that I attended – though a few younger children did not return after intermission, and perhaps were not the right audience for such a show.
The Company of CSC’s Hair (Lorah Haskins)
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Ashley LaLonde in CSC’s Hair (Lorah Haskins)
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Hair follows a group dubbed the “Tribe” – long-haired, free-spirited hippies in the late 1960s – as they stage political protests, chafe against the norms of society, and wrestle with the hot topics of the time, from the war to drugs. The show works outside of the box at times, traditionally placing performers in the audience, having them interact directly with theatregoers, and more. Featuring well-known songs such as “Aquarius,” “Good Morning Starshine” and “Let the Sun Shine In,” Hair celebrates the hippie counterculture of the late 60s, expressing a desire for peace and love in a time heavy with strife.
CSC’s production features direction by Kate Simone with music direction by Ari Goldbloom-Helzner and choreography by Cassie Austin, supported by creative associate Sadie Seelert. Similar to CSC’s production of Little Women that I had the pleasure of seeing earlier this year, the direction of this concert version of the musical is intriguing, dynamic, and effective for the style and space. The design choices and minimal staging are done in a way that supports the story without taking too much away. However, if you weren’t already familiar with the plot of Hair, there were times in which the limits on what was done staging-wise made things a bit confusing, particularly in Act II. There were key moments in the story that were hinted at, or more referential in this version, as opposed to being fully played out, likely due to the lack of a full design and proximity to the audience, that did make the plot harder to understand (and it’s already a bit of a loose plot to begin with).
CSC’s production features direction by Kate Simone with music direction by Ari Goldbloom-Helzner and choreography by Cassie Austin, supported by creative associate Sadie Seelert. Similar to CSC’s production of Little Women that I had the pleasure of seeing earlier this year, the direction of this concert version of the musical is intriguing, dynamic, and effective for the style and space. The design choices and minimal staging are done in a way that supports the story without taking too much away. However, if you weren’t already familiar with the plot of Hair, there were times in which the limits on what was done staging-wise made things a bit confusing, particularly in Act II. There were key moments in the story that were hinted at, or more referential in this version, as opposed to being fully played out, likely due to the lack of a full design and proximity to the audience, that did make the plot harder to understand (and it’s already a bit of a loose plot to begin with).
The Company of CSC’s Hair (Lorah Haskins)
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Mariah Lyttle in CSC’s Hair (Lorah Haskins)
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Kevin Clay plays Claude, one of the central hippies who finds himself at odds with his conservative parents and questioning whether or not he should burn his draft card like the Tribe around him. Clay’s performance is spot-on from his first entrance, full of joy and go-with-the-flow vibes, through to the end of the show as his arc drives him to question, to doubt, and to ultimately cut his hair and don a uniform, declaring, “they got me.” There is such a light to Clay for much of the show, from “Manchester England” to “I Got Life,” that allows his story to have that much more impact as he sings the more sobering songs “Where Do I Go?” and “Eyes Look Your Last.” The range that Clay brings is impressive, and across the board his is a very enjoyable performance.
Berger is portrayed by Jay Roberts-Miller with fantastic energy and solid comedic choices. Berger is a bit of a loose cannon, throwing out one-liners and causing a ruckus, while also loving on those around them, and Roberts-Miller has that chaotic energy down. Right at the start of the show they wow the crowd with “Donna” and keep the streak going all throughout the night. Their performance is both grounded and wild, walking that fine line with precision and skill to give the audience a full-bodied character within a stripped-down production.
Ashley LaLonde is breathtaking as Sheila. In Act I she sings “Easy to Be Hard” with such presence and gravity, pouring feeling into every word. Her moments with Clay and Roberts-Miller are touching, and the chemistry of the threesome is very strong. Her choices with “Good Morning Starshine” likewise showcase a great vocal talent and depth of character.
Belting out the opening lines of “Aquarius,” Mariah Lyttle plays Dionne. Lyttle draws us in from the first notes of the show, right through to the very end, consistently receiving well-earned praise from the audience. Her rendition of the “Aquarius” and “Let the Sun Shine In” solos are stunning!
Sarah Kelly returns to the CSC stage as Jeanie, after playing Beth in Little Women earlier this year. Kelly is wonderful in this track, her vocal and movement choices a perfect embodiment of the free-spirited woman. She has a beautiful voice, oftentimes floating higher solo lines above the group.
Berger is portrayed by Jay Roberts-Miller with fantastic energy and solid comedic choices. Berger is a bit of a loose cannon, throwing out one-liners and causing a ruckus, while also loving on those around them, and Roberts-Miller has that chaotic energy down. Right at the start of the show they wow the crowd with “Donna” and keep the streak going all throughout the night. Their performance is both grounded and wild, walking that fine line with precision and skill to give the audience a full-bodied character within a stripped-down production.
Ashley LaLonde is breathtaking as Sheila. In Act I she sings “Easy to Be Hard” with such presence and gravity, pouring feeling into every word. Her moments with Clay and Roberts-Miller are touching, and the chemistry of the threesome is very strong. Her choices with “Good Morning Starshine” likewise showcase a great vocal talent and depth of character.
Belting out the opening lines of “Aquarius,” Mariah Lyttle plays Dionne. Lyttle draws us in from the first notes of the show, right through to the very end, consistently receiving well-earned praise from the audience. Her rendition of the “Aquarius” and “Let the Sun Shine In” solos are stunning!
Sarah Kelly returns to the CSC stage as Jeanie, after playing Beth in Little Women earlier this year. Kelly is wonderful in this track, her vocal and movement choices a perfect embodiment of the free-spirited woman. She has a beautiful voice, oftentimes floating higher solo lines above the group.
Jay Roberts-Miller, Kevin Clay, and Ashley LaLonde in CSC’s Hair (Lorah Haskins)
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Zion Middleton and the Company of CSC’s Hair (Lorah Haskins)
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Zion Middleton takes on the role of Hud, pouring soulful vocals into some of the more complex tunes in the show. Middleton has a solid sound that allows him to both stand out as a soloist and blend well in the small group numbers. There is an intensity that he brings out in the role that really fits Hud, allowing the passion of the character to shine through.
Madeline Wong Perez plays Crissy sweet and innocent, which is just right for the feature on “Frank Mills.” Crissy has a naivety to her that Perez emphasizes, crafting an endearing take on the character.
Woof is portrayed by Kaimana Neil, whose powerful voice and long, curly locks are well-suited for the track. Neil’s rendition of “Sodomy” got quite a few chuckles from the audience. It’s a song that, if you’ve never heard it (like with much of Hair), may catch you a bit by surprise, but Neil leans into the provocative, indulgent lyrics and gives the room his all from start to finish.
Chris Nicolosi has the audience in stitches as Margaret Mead. Though Mead is only present briefly, Nicolosi all but steals the show in his scene and with the song “My Conviction.” He is hilarious without overdoing it and sings a challenging song with practiced ease.
The production is supported by a very talented ensemble, the Tribe, featuring Berlin Lee Charles, Hannah Ellowitz, Margot Grom, Janaysia Gethers, Noah Hartwell, and Leron Wellington, with Andy Saulitis on for Hubert, a role he shares with Matt Blank. The ensemble fills the room with brilliant energy and soaring vocals, delivering a memorable performance across the board.
Madeline Wong Perez plays Crissy sweet and innocent, which is just right for the feature on “Frank Mills.” Crissy has a naivety to her that Perez emphasizes, crafting an endearing take on the character.
Woof is portrayed by Kaimana Neil, whose powerful voice and long, curly locks are well-suited for the track. Neil’s rendition of “Sodomy” got quite a few chuckles from the audience. It’s a song that, if you’ve never heard it (like with much of Hair), may catch you a bit by surprise, but Neil leans into the provocative, indulgent lyrics and gives the room his all from start to finish.
Chris Nicolosi has the audience in stitches as Margaret Mead. Though Mead is only present briefly, Nicolosi all but steals the show in his scene and with the song “My Conviction.” He is hilarious without overdoing it and sings a challenging song with practiced ease.
The production is supported by a very talented ensemble, the Tribe, featuring Berlin Lee Charles, Hannah Ellowitz, Margot Grom, Janaysia Gethers, Noah Hartwell, and Leron Wellington, with Andy Saulitis on for Hubert, a role he shares with Matt Blank. The ensemble fills the room with brilliant energy and soaring vocals, delivering a memorable performance across the board.
The Company of CSC’s Hair (Lorah Haskins)
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Kevin Clay and the Company of CSC’s Hair (Lorah Haskins)
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Due to the concert style of the production and the non-traditional theatre space, there aren’t designers besides Lorah Haskins billed for “costumes and props.” While there isn’t a full set for the show, I really enjoyed the tasteful scenic touches that were utilized to evoke the feel of the piece. Bean bag chairs, cushions, and other colorful, comfy seats are scattered along the upstage wall, establishing the overall vibe of the performance before the actors even take the stage. Likewise, the costume choices for the production are wonderful. Each outfit is unique to each person, feeling well-suited to the character, but also the feel of the actors themselves, leading me to wonder if perhaps these are items that performers already owned. Actors primarily style their natural hair to fit the show, though a few wigs are used, and the hair design choices are perfect. Lighting is restricted to lights up/down because of the library space. Handheld floor mics are used in place of body mics, though the handhelds can be taken out and carried around the space as needed. The sound balance is a bit odd due to the fact that there are fixed speakers on either side of the stage, concentrating the sound strongly in those areas. If you sit near them, it tends to be too loud, whereas in the back of the room, you may lose things. Sitting close to the front of the room in the center is definitely the prime choice for seating at these productions, for sound considerations in particular.
Sarah Kelly in CSC’s Hair (Lorah Haskins)
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The Company of CSC’s Hair (Lorah Haskins)
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Hair in Concert, though scaled back due to the concert style, is a wonderful rendition of the iconic musical. With standout Broadway talent and strong choices with the limited design and staging that can be done, it’s a memorable production that will leave you singing the anthems of peace and love long after the final bows. If you didn’t have a chance to catch Hair in Concert, stay tuned for more from CSC as they continue their season with The 25th Annual Putnam County Spelling Bee in April of 2025.
Hair in Concert ran November 23-24, 2024, presented by Connecticut Stage Company (CSC) at the New Canaan Library in New Canaan, CT. The production was dedicated to the late Gavin Creel, known for his performance in the 2009 revival of Hair on Broadway. To learn more about CSC, you can visit their website at https://www.connecticutstagecompany.org/. Their next production, The 25th Annual Putnam County Spelling Bee, will play April 5-6 at the New Canaan Library.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Hair in Concert ran November 23-24, 2024, presented by Connecticut Stage Company (CSC) at the New Canaan Library in New Canaan, CT. The production was dedicated to the late Gavin Creel, known for his performance in the 2009 revival of Hair on Broadway. To learn more about CSC, you can visit their website at https://www.connecticutstagecompany.org/. Their next production, The 25th Annual Putnam County Spelling Bee, will play April 5-6 at the New Canaan Library.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.