Exploring ideas of identity, community, global responsibility and peace, “Hair” remains relevant as it examines what it means to be a young person in a changing world.
Theatre UAB
will present “Hair: The American Tribal Love-Rock Musical,” the show that fueled a generation of young people in the 1960s with its message of love and inclusivity, Oct. 16-20.
The American tribal love-rock musical “Hair” celebrates counterculture in all its barefoot, beaded and fringed glory. Exploring ideas of identity, community, global responsibility and peace, “Hair” remains as relevant as ever as it examines what it means to be a young person in a changing world.
Theatre UAB is the performance company of the University of Alabama at Birmingham College of Arts and Sciences’ Department of Theatre.
Performances will be at 7:30 p.m. nightly Oct. 16-19, and at 2 p.m. Sunday, Oct. 20, in UAB’s Alys Stephens Performing Arts Center. Tickets are $15 and $20, $6 for students, and $10 for UAB employees and senior citizens. Call 205-975-2787 or visit AlysStephens.org for tickets. Content advisory: This play contains strong adult language and situations.
“Hair” is a testament to those who cling to hope when the entire world is screaming about hopelessness. At its heart, “Hair” is a story about a younger generation fighting to own their voice and be heard, which transcends the period setting of the ’60s and its free love and frequent drug use, says Assistant Director Jenna Palmieri, a senior UAB Musical Theatre major.
“In the ’60s, cultural division emerged surrounding the Vietnam War, and today the country divides itself over white nationalism, gun violence, climate change and immigration,” Palmieri wrote. “Fear of the ‘Other’ has prevailed in this country for decades, so ‘Hair’ and its message of love and inclusivity remain relevant today, just over 50 years later.”
| “’Hair’ is a testament to those who cling to hope when the entire world is screaming about hopelessness. In the ’60s, cultural division emerged surrounding the Vietnam War, and today the country divides itself over white nationalism, gun violence, climate change and immigration. Fear of the ‘Other’ has prevailed in this country for decades, so ‘Hair’ and its message of love and inclusivity remain relevant today, just over 50 years later.” – Assistant Director Jenna Palmieri, senior UAB Musical Theatre major. |
Because of this continuing relevancy, the Theatre UAB production strives to visually and emotionally connect the issues of today to the original setting. The initial production of “Hair” was one of the first times audiences saw their world mirrored on stage — protests and all, and in our tumultuous social and political climate, Palmieri says, how could we not do the same?
“We owe it not only to the original intent of the show, but also to the courageous people who are out on American streets right now, fighting for what they believe in and speaking out against injustice,” she said.
“Hair” changed the face of musical theater, inviting more rock musicals and unconventional storytelling to the Broadway stage; but its impact stretches much further than that. Many of the songs featured in “Hair” became popular hits — even classics, and the musical is performed all over the country by amateur and professional theaters alike, igniting the passion of young people against a world that fights to silence them.
“Hair” book and lyrics are by Gerome Ragni and James Rado, and the music is by Galt MacDermot. It is directed and choreographed by Roy Lightner, with musical direction by Carolyn Violi. Student Brett Everingham is assistant director, student Lilly Bateh is associate choreographer, and student Clara Holmes is assistant music director.
The cast of “Hair” is Raymond Avelar of Wichita, Kansas, as Claude; Rachel Biggs of Lubbock, Texas, as Jeanie; Elizabeth Meckler of St. Petersburg, Florida, as Sheila; Gary Fuqua of Florence, Alabama, as Hud; Justine Nelson of St. Petersburg, Florida, as Berger; Khalia Reeder of Florence, Alabama, as Dionne; Morgan Tapp of St. Petersburg, Florida, as Crissy; and Diego Villanueva of Katy, Texas, as Woof.
The Tribe includes Nina Ballon of New Orleans, Louisiana; Ryan Charest of Tampa, Florida; Joe Condon of St. Petersburg, Florida; Bailey Dumlao of Germantown, Tennessee; Laurel Floen of Tampa, Florida; Hannah Fulmore of Birmingham; Matthew Kelly of Phenix City, Alabama; Matthew Klinger of LaGrange, Georgia; Nick Linhardt of Andover, Kansas; Brooke Payne of Birmingham; Rachel-Marie Strazza of New York City, New York; and Leah Vithoulkas of Chicago, Illinois.
The Swings for the production are Lilly Bateh, dance captain, of Jacksonville, Florida; Sadie Farmer of Birmingham; Nick Lynn of Kansas City, Missouri; Terrell Miller of Birmingham; and Jori Rutledge of Mobile, Alabama.
Costume design for the show by Sharon Morgan; lighting design by Kelly Allison; properties design by J. Marc Quattlebaum; and sound design and audio engineering by guest artist Patrick McDonald.
The crew includes Tyler Stidham, stage manager; Abigail Coats and Lauren Macari, assistant stage managers; Austin Helmers, scenic design; Cooper Ellis, Emma Mansour, Ian Black and Michael Woods, follow spot operators; Kristen Hall and Clarence White, props; Madi Carr, light board operations; Kaylee Radney, assistant lighting design; Sophia Sarnowski on sound deck; Amanda Medders, assistant costume designer; Olivia Bowles, wardrobe head; and Sunday Owens, wardrobe crew.