Chicago Tribune
- Somewhat Recommended
"...At this point, a fair reader might be thinking that the reviewer of a certain age appears overly nostalgic for a lost era, and maybe even unwelcoming to the imperative that every company of actors find their way into an old show as a way of bringing it back to life. Guilty as charged, perhaps, although I'd add in my defense that "Hair" is more complex than merely a celebration of radicalism."
Chicago Sun Times
- Recommended
"...I've seen a fair number of productions of "Hair," which first appeared on Broadway in 1968, but this is the first that's an expression from a Gen Z-ish point of view. Director Brennan Urbi and his young, game cast embrace the protest-as-performance concept with fierce conviction. In case you miss that point, they'll indicate it plainly and visibly. "This is a satire," reads the tie-dyed textile unfurled early and left hanging for the rest of the show's duration. "This is a protest, not a play," reads one sign held up during the show's "be-in.""
Chicago Reader
- Recommended
"...The tricky part of Hair for me is figuring out how much the characters represent political rebellion and how much they represent libertinism for its own sake. The two can be linked, but it's easy to imagine that Richey's Berger, for example, who has more than a whiff of self-interest about him, could eventually take the Jerry Rubin path to Wall Street. (His attitudes toward women would fit right in with a lot of corporate offices, honestly.) And we all know that marketing rebellion is as American as apple pie, which is one reason Hair became a hit in the first place."
Let's Play Theatrical Reviews
- Recommended
"...Still, I agree with historical critics of the original performance, who note a storyline that ranges from flashy but formless in some scenes to one filled with raw energy and powerful themes. Chopin's audio equalization needs improvement, as it was hard to hear some songs and singers over the music, but I felt the overall performance was entertaining and exhilarating."
Around The Town Chicago
- Highly Recommended
"...For those who recall the "Sixties", and I am one of them, it was a time that brought protest to the world. It was during that period that "Hair", the American tribal love-rock musical with a book and lyrics by Gerome Ragni & James Rado, with music by Galt MacDermot, It was a turbulent time with an unwanted war ( Viet Nam) and many of us being sent to battle in a war that we did not believe was "ours to fight". It was a time of protest and perhaps the very beginning of true protest marches and exploring the development of a counterculture."
Chicago Theatre Review
- Recommended
"...HAIR, theatre's first Rock Opera, is definitely light on plot but heavy on ideas. The production feels a little long-winded, especially during Act II, which wears out its welcome long before the conclusion. In depicting the Hippie Culture, this first concept musical presents controversial anti-war sentiments, depicts blatant drug usage and boldly portrays the sexual revolution. On the upside, this cast is always in the moment, earnestly conveying the feeling of community and totally present in everything they sing, say or do. While this group of young performers may only be drawing from stories and research found on the internet about the era, the cast has captured the immediacy and reality of that time as a real flash from the past."
Third Coast Review
- Highly Recommended
"...Kokandy Productions begins its Season of Color and Light with the American tribal love-rock musical, Hair, at the Chopin Theatre. Premiering on Broadway in 1968, Hair is the first fully realized concept musical centering around the '60s counterculture and the anti-Vietnam war movement. With themes of community, rebellion, peace and identity, Kokandy's performance brings a relevant image of the younger generation resisting societal expectations, though the performance is occasionally hindered by choices in the script and creative execution."
Chicago Theater and Arts
- Recommended
"...The Kokandy cast, as always, delivers on vocal quality and has put their own spin on this now classic musical. Costumes by Rachel Sypniewski are reminiscent of the period but not derivative opting to embrace the ideas of eclectic individualism over period realism. The same is true of the make-up design by Syd Genco as well as hair and wigs by Keith Ryan."
Chicago On Stage
- Highly Recommended
"...Directed by Brennan Urbi with music direction from Kara Olander, Kokandy’s production invites its audience, many of whom are seated right in the stage area on Eleanor Kahn’s set design—which feels as “found” as the tribe itself—to become parts of the group. Performers roam about the audience before the show, sitting next to us and engaging in conversations, breaking down any possible fourth wall that might separate us. When props are needed—platforms, lockers, guitars, microphones, wigs, or whatever—the hippies carry them in a vista. Everything is wide open…including the “realistic” bedroom/den set in which we first see Claude Hooper Bukowski, the one character who straddles the tribal world and what lurks outside, the one we are meant to sympathize with."
PicksInSix
- Recommended
"...To me, every production of "Hair" is a rite of passage for a new generation of theater artists to explore. The rousing score, with themes of connection, racial indignation, sexual freedom, love and community, is universally important to hear and a timely reminder of the passion and energy of youth. Things are amped up here with stylized makeup, costumes and protest signs leaning to the current moment we are experiencing while staying just within the slim margins of the story. In the end, while this may not be your grandfather's "Hair," Kokandy still delivers a powerful, resonant message."
Curtain Call Chicago
- Highly Recommended
"...Kokandy's revival of Hair at the Chopin Theatre is part nostalgia for those who lived through (or like me was a child during) the 1960's living, breathing act of resistance and protest. But for Kokandy, the 1960's message has become a modern and current call for action. It now calls out to modern day issues like the fight with ICE and protection of trans rights. You'd be hard pressed not to sense the connection even without the signs of protest that arrive around intermission time, but the message is made quite clear just in case you missed it."
Allie and the After Party
- Somewhat Recommended
"...Taking the themes of love and community from the original show, Kokandy's production of Hair attempts to move the musical to a modern day to relate these two periods together. The cast delivers the score with phenomenal singing talent, but the rest of the production felt sparse and ungrounded."
NewCity Chicago
- Highly Recommended
"...The material holds up both because of the quality of the music and because the lyrics are still relevant and occasionally shocking. There's no nudity in this production, though four-letter words are abundant. The ugly racial slurs sung by Black members of the cast in "Colored Spade" were meant to make a satirical point about racism-in fact, a curtain slides across the back of the theater reminding everyone that "This is a satire." But some audience members were noticeably troubled."
