And yet Claude’s story still packs an emotional wallop because of the power of the big ensemble numbers that are the best parts of the show. The singing and the choreography in these numbers are just wonderful. They range from raucously funny and satirical (such as in the title song, “Ain’t Got No,” and “Three-Five-Zero-Zero”) to spacey-psychedelic (“Walking in Space” and “Be-In/Hare Krishna”). And they reach a spectacular climax in the final number, “The Flesh Failures,” which segues into “Let the Sunshine In.” I had only heard this song on the cast album, and had never seen it staged, so I wasn’t prepared for the coup de theatre with which it (and the main part of the show) end. I won’t spoil it for you, but suffice it to say that it leaves the audience stunned, breathless, overwhelmed. (You may think of “Let the Sunshine In” as a celebratory anthem; its original intent was to pierce your heart.) To break the tension, the curtain call turns into a big dance party, with audience members joining the cast onstage. Out under the stars in Central Park, it’s a bracing ending to a fantastic night.
Highest kudos to director Diane Paulus, music supervisor Rob Fisher, music director/conductor Nada DiGiallonardo, and choreographer Karole Armitage. They and the very talented young cast perform wonders. It’s possible this production will return in an indoor version, but see it in Central Park while you can – this Hair is an experience that won’t be easy to duplicate elsewhere.
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