Newsflash: Hippies Spotted In Asbury Park "Hair" on the Boardwalk

By Philip Dorian
Two River Times
August 22nd 2008

On opening night of Hair at the Carousel on the Asbury Park boardwalk, heavy rain (precipitation) fell during the song about snow (not precipitation). Dripping through the roof in several spots, including onto the stage, the rain did not dampen the spirits of the show's anti-Vietnam War protesters or of their adoring capacity audience. The particular scene is a hippie be-in, and the downpour brought us all, audience and cast, together for a precious two hours.
That's what Hair was supposed to do, before we traded tie-dye for navy blue and activism for going-along-to-get-along. Two years ago I wrote that Hair, 40 years after emerging as the American Tribal Love-Rock Musical, had become passe and that its relevance might be mainly historical. Dated Hair is, but despite some valid criticisms, ReVision's quality re-vision makes for a valid time-study. Director Andy Goldberg imbued his energetic cast with respect for the era as well as the material.
Don't go to Hair looking for a plot or even a linear story. It's New York City, 1968. Claude (Casey Gensler), drafted to serve in Vietnam, vows to burn his draft card and refuse induction. In the end he does go, with predictable consequences.
Claude's tribe includes his sex-and-drugs-obsessed friend Berger (Scoop Slone); his girlfriend Sheila (Ephie Aardema); Jeanie (Julia Arazi), who's pregnant by Claude; Hud (Kyle Taylor Parker), a tough "colored" guy; sweet, vulnerable Crissy (Marah Meese); and diverse hippies.
Claude is ambivalent about serving, while Berger is in the 'hell no, I won't go' camp. Gensler and Slone, contrasting types, match up well. Their friendship rings true.
Musically, The Tribe rediscovers "Aquarius," Good Morning Starshine" and "Let the Sunshine In" with enthusiasm and "Frank Mills" gets the proper wistful treatment from Meese. Ms. Aardema, an accomplished singer, is a potent presence throughout, and Arazi makes of pregnant Jeanie the waif you want to protect. Britt Johnson's cameo as a curious tourist is a comic highlight.
Hair ushered in the era of amplification, and there is a tendency for companies to treat their theater spaces like 15,000-seat concert venues. ReVision is no exception. The band, offstage at the rear, provides excellent backing, but a sizeable portion of the lyrics is lost in vocal volume and over-amplification, a significant flaw, considering the absence of a coherent book. While a choreographer is listed, the dancing is free-form and more Stone Pony-ish than stageworthy.
On the big-plus side: Most of act two is Claude's war-themed hallucination. Vietnam is represented of course, as are the American Revolution, the Civil War, both World Wars and '60s Civil Rights issues. The extended scene can be as fuzzy as Claude's drug-addled brain, but here it's clear as a bell and ethereal all at once. Director Goldberg uses the Carousel's many aisles and levels, and costumer Steven Epstein's creations blend accuracy with a sense of humor. The second act works better here than anywhere else I've seen it.
The fortitude that turned the recently-decrepit carousel building into a viable theater venue is praiseworthy in itself. What a pleasure to see Asbury Park's Boardwalk, virtually deserted for decades, bustling again with shops, strolling couples, laughing teenagers and, would you believe, even theatergoers.
"Hair" runs through August 31 at The Carousel, south end of the Boardwalk in Asbury Park. Performances are Thurs-Fri at 8pm; Sat at 7 and 10:30; and Sun at 7pm. For tickets ($35): 732-455-3059 or online at www.revisiontheatre.org
About Hair's fleeting nude scene: Here it's semi. A few of the 17 hippies are starkers and a few topless, but the once-shocking display is redundant now anyway - silly even. Of far more importance, the audience is not invited on stage to dance with the cast after the curtain call. C'mon, ReVision; get with the program.