By Anastasia Avlon & Kaila Mack
BCC’s Bergen Stages transported the Anna Maria Ciconne theatre back to the psychedelically dynamic hippie hopping ‘60s with their production of Hair: The American Tribal Love-Rock Musical. Directed by co-advisor to the BCC Theatre Club, Prof. Leigh Jonaitis, this was a rendition of Gerome Ragni and James Rado’s original 1968 Broadway production. On March 26, Bergen professors Leigh Jonaitis (theater), Christine Eubank (history), and Andy Krikun (music) spoke at an honors salon about the making of the upcoming production and the historical and musical context surrounding the hippie movement.
The original production in 1968 contained controversial elements including nudity and racial slurs. During the honors salon, Prof. Jonaitis discussed the process of choosing if or how to include these parts. Bergen’s production of Hair did not include nudity, but the freedom and resistance symbolized by the original scene’s nudity was preserved. Jonaitis felt that the offensive language found in parts of the original script held a message that remained important in Bergen’s production of the play, though of course including it required a thoughtful, delicate approach from the director and cast, and some adaptations were still made.
The musical felt like the entirety of the 1960s was thrown into a blender, mixed up and into a melodic paradigm of the decade’s cultural ambiguity it became. Of course, with Hair being the namesake, the hairstyles were wildly emblematic of the classic long hippie locks; afros, bohemian Janis Joplin-esque waves and of course, the go-to hippie accessory– brightly colored headbands and scarfs. The production touched upon prevalent themes of the sexual revolution, civil rights, pacifism, and anti-authority to name a few. During the honors salon, Eubank discussed the tense, chaotic recipe that formed the hippie movement. It started at a time when political tensions were high, and though a time of social progress, change was a slow and painful process. The counterculture movement, which for some included growing out their hair, was part of a symbol of resistance and protest against the war and its draft, and the various social troubles of the time.
The ensemble, also known as, “The Tribe” symbolized the passionate youth of the era, a revolting energy present in their demeanor and song. Additionally, a large theme revolved around the Vietnam War and the ominous young-male’s fate of the draft. Bringing the late 60s to today’s youth and community, this rendition ran from April 3-11 at Bergen’s Paramus campus. Prof. Krikun also discussed the historical and musical influences of the original Hair production and the contemporary music. He talked about how the counterculture movement and the beliefs and fashion that defined them were connected to rock music. He also mentioned the role of psychedelics and their popularity in influencing the music of that era. He cited Bob Dylan and The Beatles as being some of the most important players in 60’s music.
Opening with Jeannille Ettinoffe’s voice, the stage instantly lit up with talent as the first musical number, “Aquarius” unfolded, setting the scene for what was to follow. Ettinoffe’s buttery smooth vocals illuminated the theatre powerfully, an instant revelation of the spectacular talent residing within BCC’s theatre program. Showcasing range, tone, and jaw-droppingly impressive riffs, Ettinoffe’s name is without a doubt one to remember.
Initially you would think that Claude, played by Justin Larghi, has somehow made his way across the pond from England as he speaks in a British accent. In reality, this young man with a shining long mane is from Flushing, Queens, clearly to his disdain as he escapes reality with his adopted accent and false identification with Manchester, England. We watch his character struggle with the impending draft, facing a dilemma between his national duty and the rebellious nature of The Tribe. Larghi’s singing exuded a mixture of hope and unease as he sang numbers like, “I Got Life.”
The life of the party, outgoing and wild is Berger, played by Samuel Frasier Morell. Unconcerned with external convictions or societal norms, Berger is free to be who he is, even if that self-expression manifests by omitting the need for a shirt, pants or even shoes! Morell played this anti-government, eccentric character confidently and unapologetically. His wholehearted embodiment of this capricious character was evident throughout the performance.
As well, Yurianna Botero was an absolute riot as she played Jeanie, the happy-go-lucky, quirky mother to be, impregnated by a, “speed freak.” Her joyous dancing and charmingly expressive vocals created a delightful depiction of the layered character. With earth-loving passion, Jeanie sang a
memorable number, “Air” in which she coughs and wears a gas mask, a commentary on pollution. Botero’s vocal clarity, appealing tone and emotional expressiveness made her the absolute best actor for this role.
As well, Crissy played by Lila Bell had a very pretty voice, akin to the airy brightness of a Disney princess as she sang, “Frank Mills.” Additionally, Sheila, played by Heidi Nosch, exemplified musical aptitude as she sang pieces like, “I Believe In Love” and, “Good Morning Starshine.” Special guest, performing courtesy of Actors’ Equity Association, L.James, who played Hud, provided an amazing on stage presence and comedic relief. His voice was powerful and controlled, perfectly fitted for the impactfully blunt performance of, “I’m Black/Ain’t Got No.” Hud’s one liners gave the production a real off-broadway level satirically rich feel. As well, Margaret Mead, played by El Rose, had this effect, her shocking delivery of “and kids, fuck you!” in the most well-meaning sounding voice had the audience laughing. Rose’s performance of, “My Conviction” was an entertainingly comical display of juxtaposition between the hippie and straight laced culture of the period.
This was a powerful selection for the Bergen Stages, as the social and political uneasiness remain relevant sentiments today. In fact, at the very beginning of the play, as the lights still remained dim, a recording of modern political features like Donald Trump and Bill Clinton speaking jumbled into a fast unintelligible compilation of political nonsense. Clearly, the ideologies extend beyond just a historical retelling, arguably an underlying theme of repeated history and persistening dissension with the government powers was hinted at.
This play evidently dealt with controversial, tendentious material, not concerned with ruffling some traditional-minded feathers. During, “Ain’t Got No Grass,” the stage essentially transformed into one large musical riot, complete with poster board protest signs and all. Like the music, the tumultuous, outspoken emotion was not quiet nor reserved. Utilizing the side stages and even the seat aisles, a real-world interweaving between performance and lived social objection, blurring the line between theatre and political commentary.
Photos taken by Cameron Villanueva