Review: HAIR, New Wimbledon Theatre

New York. August 1965. Young men in America are being called up to fight in Vietnam and the burning of draft cards has just been made illegal.

HAIR follows the struggles of Claude, who's just been given his marching orders and doesn't know where to turn. He identifies as both a patriot and a hippie. But can he reconcile the two?

The story is loose and HAIR is more about individual characters establishing their identities. A number of audience members left saying they hadn't quite understood what was happening. The programme should help with the context and is certainly an interesting read.

While the plot hinges on Claude, played with growing confidence by Paul Wilkins, the show seems to revolve around Jake Quickenden's Berger, played explosively from the start. Incidentally, the front row of this production is not for the faint-hearted, if you don't want to be climbed on and caressed.

Wilkins takes a little time to get into his stride during "Manchester, England", but the number is visually impressive, with a unique sequence involving a projector and some umbrellas.

A few songs later, by "Ain't Got No Grass", the actor owns the stage. The familiarity of the song, thanks to Nina Simone's version, helps it stand out. This is no mean feat among the nearly 50 songs which otherwise merge seamlessly. That said, they are mostly very contrasting.

Marcus Collins, as Hud, also takes a while to get into it but, by Act II, it's hard to take your eyes off him. His dancing in "Abie, Baby" and singing of "Hippie Life" could almost be a different performer to the earlier "I'm Black".

Others who stand out from the cast are Aiesha Pease, Daisy Wood-Davis and Alison Arnopp. It's an absolute treat every time Pease's voice rises up above the ensemble. Wood-Davis seems to love every second she's on stage and uses her whole body to express that. Her voice is rich and her performance magnetic.

As for Arnopp, she has a certain je ne sais quoi - I was completely drawn to her throughout. But the ensemble are also fantastic together: a single, energetic entity made of lots of distinct bodies and characters.

The vibrant set, designed by Maeve Black, is simple but hugely effective. Her costumes add great flair to William Whelton's choreography, which is fun, sexy and anarchic. The neon sequence is a little predictable but well done all the same.

Of course, for HAIR a mention must go to the Head of Wigs and Wigs Supervisor, Milly Roberts-Smith and Diana Estrada respectively, who make the cast almost unrecognisable from their headshots!

Director Jonathan O'Boyle's production - which began at Manchester's Hope Mill in 2016, and had a run at the Vaults for the show's 50th anniversary - lends itself to a party atmosphere. The audience can't help but get into the spirit of revolution.

The finale is one of the most remarkable things I've ever seen in a theatre. A bright stage, filled with highly talented people, living in the moment. They are all clearly enjoying doing what they love.

HAIR at the New Wimbledon Theatre until 30 March, then touring the UK until 10 August

Watch our interviews and backstage sneak peeks video here!

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