Review: HAIR at Palm Canyon Theatre

Entering into Palm Canyon Theatre’s latest stage production of the ‘Tribal Love Rock Musical’ “HAIR”, a number of thoughts came to mind.  It is curious that, sixty years later, we find ourselves embroiled in much that same set of issues this play embodies.  Social injustice and a wildly unpopular government. American lives lost to a war of our own making, only this time on our own soil against our own community members for the temerity of holding an over-reaching government to account.  Mass protests, student walk-outs and economic boycotts.  Meme wars on the internet replacing telephone post manifestos in the public square.

The first “Rock Musical”, a few years before Andrew Lloyd Webber’s breakthrough in the “Rock opera” genre, “Hair”, with book by Gerome Ragni and James Rado and music by Galt MacDermot, is a feral anarchist utopian project.  As wild as the flower children it follows in the halcyon days of 1968 in New York City’s artist’s niche of the West Village, “Hair” airs the width and breath of the “counter culture” with better drugs, looser morals and a mill of angst, zeal and righteous indignation into a world that is so far only views them as grist for the work force or red meat for the battlefields of Vietnam.

The tornado of action centers on the characters of Berger, played here with magnetism and sexual chemistry à la Jim Morrison (The Doors) by Scott Clinkscales, Claude, expressed with wide eyed abandon and ethereal majesty by Noah Wahlberg and Sheila, here portrayed with passion and poise by Isabella Morrison.  Clinkscales’s role is funny, caustic, sarcastic, and volatile in equal measure.  A true passionista who is really out for himself; the satiation of his desires and the avoidance of his deepest fears.  Mr. Wahlberg’s creation is truly remarkable.  His Claude is incredibly innocent, with unfathomable depths of emotion and longing.  A counterpoint to the more sexually attenuated agendas of the “tribe” surrounding him, he is one who trapped between the desires of his heart to “be” of the whole world and the societal (and parental) expectations that he “be a man” and “settle down”.  His is the most tragic character in the show and I challenge anyone not to feel his soul here.

Sheila is the more level-headed and focused of the trio.  What we call today as a “Social Justice Warrior”, Ms. Morrison’s creation is sublime.  Her relationships are best described by fellow “tribal” member, Jeanie (Katt Atkins) "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger." With a solid soprano, her rendition of “Easy to Be Hard” and “Good Morning, Starshine” are a favorite.

The ensemble, who rarely leave the stage in his show, have lots of individually striking moments.  Soul stirring vocals from Ronny, here embodied by Heather Joy, add the vibes (and pipes) of “Mama” Cass (of the Mamas & The Papas) in her rendition of “Aquarius”.  Woof, played by Jackson Enzler had a lot of fun with the “Sodomy” song. Hud (Steffon Martindale) take on “I’(M) Black” was terrific and in your face. Crissy (Nicole Kennedy) song “Frank Mills” was funny and sweet.  There is A LOT of music in this so it is impossible to name all the great bits, but the ensemble behind “Black Boys” and “White Boys” was fun. JT Eberhard’s “Margaret Mead” was also very funny, with a bit of “surprise”!

Visually, the production is a feast. Derik Shopinski’s costume design is a kaleidoscope of color and texture: the odds and ends, mish-mash of textures, shades and thrift shop esthetic (totally correct). Nick Edwards’ special effects and projections elevate the experience to cinematic levels. He had his hands full with all the colors, movement and the hippie vibe, it was like living in a lava lamp.  Lighting and scenic effects by J.W. Layne, on spot as always.  Extra points for the VW Bus in the wing, nice touch!

Director Luke Rainey pulled together a strong ensemble into a family that read in the audience.  This is not a show for everyone, the themes unabashedly addressed are in some respects just as button pushing and socially challenging as in 1968 when it first assaulted uninitiated audiences.  He treated the work with sensitivity and care but not weakening the bravado and the audacity of the premise.  It seems he understands, viewing audiences need the reminder they are still in the fight today.  The musical direction of Steven Smith and his band of Jim Watson on Drums and Larry Holloway on Bass was fairly clean and kept the flow grooving.  A complaint I have aired before and is aimed as directly at sound design in this case, is that the band was over-powering the vocals a bit.  It wasn’t for a lack of vocal power amongst the cast, but amplification needs a bump. Tegr Powell’s choreography was fluid, floating and raucous in equal measure.  Free form rock dance is tricky to pull off for an ensemble, but he was successful here.

With its kaleidoscopic visuals, stellar performances, and heartfelt storytelling, this is a show that proves Palm Canyon Theatre continues to be a cornerstone of local artistry.  If you are looking for a “good wholesome family show” …..this ain’t it!  There is nudity involved….and language….and ample drug references.  But, if you are looking for a nostalgia kick (for those old enough to remember this once upon a time), or if you are hearing it for the very first time, the tale it weaves is as pertinent in 2026 as it was in 1968, possibly more so. 

“HAIR” runs Thursdays at 7PM, Fridays & Saturdays at 7:30 pm and Sundays at 2pm through March 1.  Tickets can be purchased ONLY at palmcanyontheatre.net or by calling the box office at (760) 323-5123.  The theatre is located at 538 North Palm Canyon Drive, Palm Springs.

Palm Canyon Theatre continues their 2025-26 season slate:

The Tuesday Show: Palm Springs Bound (Feb 17) “The Tuesday Show” with Francesca Amari! One of Palm Springs’ favorite songstresses brings her friends to the Palm Canyon Theatre stage for a monthly cabaret series benefiting Palm Canyon Theatre! “Palm Springs Bound” features music of composers, lyricists, and performers who have lived and worked in the desert. The night’s Music Director is Mark Kahny. Cast includes Eve Holmes, Mary Rademacher, and Paul Motondo

CVCV Greatest Hits! (Feb 25) Discover a wide range of vocal artistry as members of Coachella Valley Classical Voices perform an array of beloved opera gems and Broadway favorites in a fundraising concert for Palm Canyon Theatre. Annie is a timeless story of optimism and determination. Follow the beloved redhead and her dog Sandy as they discover their found family. Featuring unforgettable songs like “Tomorrow” and “It’s the Hard Knock Life,” this classic musical is a gift for audiences of all ages this holiday season.

Sunset Boulevard (Mar 13 – Apr 5) Andrew Lloyd Webber’s Sunset Boulevard is a hauntingly glamorous tale of fame, obsession, and faded dreams. When a struggling screenwriter meets a forgotten silent film star, the results are both dazzling and tragic. Featuring the iconic “As If We Never Said Goodbye,” this musical is Hollywood noir at its best.

Monday Sing-Along (Mar 16) Want to be part of the show? Join us for a Broadway sing-along. Come dressed for your favorite part. Bring your props or use ours as you enjoy iconic films in a fun, interactive event!

The Tuesday Show: Unsung Broadway (Mar 17) “The Tuesday Show” with Francesca Amari! One of Palm Springs’ favorite songstresses brings her friends to the Palm Canyon Theatre stage for a monthly cabaret series benefiting Palm Canyon Theatre! “Unsung Broadway” features songs that were cut from Broadway and Off-Broadway shows with Music Director James May and a cast that includes Alex Bernhardt, Jen Hopper, Michael Miyazaki, and Sonia Reavis.