Review: Schenectady Light Opera Company Lets It All Out To Shine In HAIR

The cast, or tribe as they preferred to be called, of Schenectady Light Opera Company's production of Hair is certainly letting it all out to shine for us in this restaging of the 1968 Broadway game changer. The production is extremely timely considering the upcoming presidential election and protests that accompany it.

The musical, directed by Michael Gatzendorfer, tells the story of a group of long-haired hippies living in New York City during the Vietnam War, discovering love, finding themselves, and most of all, rebelling against the government, a theme that hits close to home with the recent violent protest against Donald Trump. The story follows Claude, played here by Will Heatley, as he is faced with the decision of what to do with his life: either to join and stay loyal to the tribe or remain in accordance with government laws and partake in the draft. Heatley does a fine job in the role, particularly in the act one finale "Where Do I Go," but is often overshadowed by the older and more experienced actors that accompany him.

The tribe, made up on twenty one actors, features many standout performances, including Kody Carpenter as Woof, a truly comedic actor, Laura Tortorici as Jeanie, love stricken for Claude but pregnant with another man's child, and Imani Velvet McCalmon as Emmaretta, who, though not often featured, draws attention each time she appears onstage.

But above all are Nick Muscatiello as Berger and Jennifer Lefsyk as Shiela, two terrific performers who shined brightest in the production. Muscatiello brings much humor and energy into the role, making him the comedic center of the show. Aside from his clearly remarkable acting ability are his extremely strong vocals, breathing life into the score with lyrics by James Rado and Gerome Ragni and music by Galt MacDermot. Lefsyk, a graduate of the musical theatre program at The State University of New York at Ferdonia, delivers a beautiful and moving performance, especially during "Easy to be Hard" and the finale "Let The Sunshine In," where, though not singing alone, she pulls focus as a tragedy occurs (I won't spoil it for you) and remains truly heartbroken.

The set design by Sharon C. Wemple and Robert Farquharson, with scenic artistry by Mary Kozlowski, along with costume design by Debra Lummis, is magnificent, transporting the audience back to 1967 and triggering a sense of nostalgia for many attendees.

Director Michael Gatzendorfer stages the show wonderfully, using not only the upper level of the stage but also the isles, involving the audience in the production as the fourth wall is broken many times.

So why, I asked myself, did I leave the theatre confused about the show I had just watched? Certainly it was not at the fault of the director or actors, who all did a notably well job at portraying the material presented before them. But rather, the problems of this production lay in the groundwork of the show itself, that is, the book by Ragni and Rado. The story's plot line is not solid and, to put it simply, is quite confusing. The tone quickly moves from comedic to dramatic with little to no transition. The plethora of characters is unnecessary as many, perhaps even all, are under developed. It felt as though the actors' only job was to perform their solo and then to slip back in with the rest of the tribe, not to appear in the spotlight again. Though this offers many chances to showcase this talented group, it ultimately contributes to the confusion of the show.

If you're hoping to relive the 60's, or experience them for the first time, let your hair down and head over to Schenectady Light Opera Company to catch this show before it shutters on March 20th. Take some time before the performance to read through the synopsis, however, as I regret not doing that myself.