Arts & Entertainment
Flower power revival
Keegan’s ‘Hair’ is youthful, fun and solid
Inez Nassara and company in ‘Hair.’ (Photo by C. Stanley Photography; courtesy Keegan)
‘Hair’
Through April 27
Keegan Theatre
1742 Church Street, NW
$37-42
703-892-0202
With Keegan Theatre’s Helen Hayes Award-winning production of the Broadway musical “Rent” several seasons ago, company artistic director Mark A. Rhea and his wife Susan Marie Rhea rendered a glimpse into New York City bohemia in the ‘90s, insightfully tackling the show’s big issues like homelessness, AIDS and art. Now the co-directors have turned their attention to another era with their version of “Hair,” the groundbreaking rock musical also set in Manhattan but in the turbulent late ‘60s.
When “Hair” premiered in New York in 1967, its depiction of a counterculture youth was novel. Never before had bisexuality, interracial relationships, drug use, full frontal nudity and a strong antiwar sentiment been set to a beat you could dance to. Times were changing. Though less shocking today, “Hair” remains relevant, and so does Galt MacDermot’s timeless music (with book and lyrics by James Rado and Gerome Ragini): a score that includes “Aquarius”/“Let the Sun Shine In,” “Hair” and “Easy To Be Hard” doesn’t languish on the shelf.
“Hair” is shaped more by a mood than a storyline. The plot is simple: A tribe of hippie kids pass the time dropping acid and making love in New York City. They’re content. But then Uncle Sam upsets the adolescent idyll with invitations to Vietnam, and suddenly the band of merrymakers is forced to make a decision: burn your draft card or go to war.
The show’s central relationship is a bisexual love triangle involving the tribe’s puckish leader Berger (Josh Sticklin), Sheila (Carolina Wolfson) a socially conscience college freshman, and Claude (played with heartrending honesty by Paul Scanlan), a young guy from working class Queens with a faux British accent who’s working out where he fits in Vietnam-era America. The original “Hair” featured a new kind of physical affection between men, opening up the way for future onstage portrayals of relationships and sexuality.
James Rado, co-creator and original star of “Hair,” has commented on his relationship with collaborator Gerome Ragni who died in 1991. Their relationship inspired the characters of Claude and Berger.
Like youth itself, “Hair” is filled with anguish and joy. Overall, the directors have embraced the darker side of the show. Set designer Matthew Keenan has followed suit opting for dreary realism with a squat-inspired two-tiered functional set. An old made over washing machine makes a tired salute to flower power.
Keegan’s ensemble-generated “Hair” features a full voiced, 20-plus person cast accompanied by an onstage nine-piece orchestra led by Jake Null. It’s a busy stage. While Rachel Leigh Dolan’s choreography celebrates the fun of communal living and a well-attended protest, it also functions as crowd control.
Made up mostly of diverse local talent, the show’s full-voiced cast is young and energetic. And though they look at home in their fringy vests, striped bell bottoms, granny skirts (compliments of costume designer Chelsey Schuller) and wild hair, they surely had to be familiarized with references to Spiro Agnew and others. While some of the acting, especially comedy, is lacking, their singing is largely on point — they do the familiar songs justice. Standouts include Jade Jones who demonstrates a big soulful voice and comedic flair. And Christian Montgomery is terrific as Woof, a gay hippie boy who insists he’s straight yet carries a very public torch for Mick Jagger.
As with Keegan’s previous musicals, “Hair” offers a solid opportunity to see the work of area actors early in their careers.
The 2026 Mr. Mid-Atlantic Leather competition was held at the Hyatt Regency Capitol Hill on Sunday. Seven contestants vied for the title and Gage Ryder was named the winner.
(Washington Blade photo by Michael Key)
Theater
Voiceless ‘Antony & Cleopatra’ a spectacle of operatic proportions
Synetic production pulls audience into grips of doomed lovers’ passion
‘Antony & Cleopatra’
Through Jan. 25
Synetic Theater at
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Synetictheater.org
A spectacle of operatic proportions, Synetic Theater’s “Antony & Cleopatra” is performed entirely voiceless. An adaptation of the Bard’s original (a play bursting with wordplay, metaphors, and poetic language), the celebrated company’s production doesn’t flinch before the challenge.
Staged by Paata Tsikurishvili and choreographed by Irina Tsikurishvili, this worthy remount is currently playing at Shakespeare Theatre Company’s Klein Theatre, the same venue where it premiered 10 years ago. Much is changed, including players, but the usual inimitable Synectic energy and ingenuity remain intact.
As audiences file into the Klein, they’re met with a monumental pyramid bathed in mist on a dimly lit stage. As the lights rise, the struggle kicks off: Cleopatra (Irina Kavsadze) and brother Ptolemy (Natan-Maël Gray) are each vying for the crown of Egypt. Alas, he wins and she’s banished from Alexandria along with her ethereal black-clad sidekick Mardian (Stella Bunch); but as history tells us, Cleopatra soon makes a triumphant return rolled in a carpet.
Meanwhile, in the increasingly dangerous Rome, Caesar (memorably played by Tony Amante) is assassinated by a group of senators. Here, his legendary Ides of March murder is rather elegantly achieved by silver masked politicians, leaving the epic storytelling to focus on the titular lovers.
The fabled couple is intense. As the Roman general Antony, Vato Tsikurishvili comes across as equal parts warrior, careerist, and beguiled lover. And despite a dose of earthiness, it’s clear that Kavsadze’s Cleopatra was born to be queen.
Phil Charlwood’s scenic design along with Colin K. Bills’ lighting cleverly morph the huge pyramidic structure into the throne of Egypt, the Roman Senate, and most astonishingly as a battle galley crashing across the seas with Tsikurishvili’s Antony ferociously at the helm.
There are some less subtle suggestions of location and empire building in the form of outsized cardboard puzzle pieces depicting the Mediterranean and a royal throne broken into jagged halves, and the back-and-forth of missives.
Of course, going wordless has its challenges. Kindly, Synectic provides a compact synopsis of the story. I’d recommend coming early and studying that page. With changing locations, lots of who’s who, shifting alliances, numerous war skirmishes, and lack of dialogue, it helps to get a jump on plot and characters.
Erik Teague’s terrific costume design is not only inspired but also helpful. Crimson red, silver, and white say Rome; while all things Egyptian have a more exotic look with lots of gold and diaphanous veils, etc.
When Synetic’s voicelessness works, it’s masterful. Many hands create the magic: There’s the direction, choreography, design, and the outrageously committed, sinewy built players who bring it to life through movement, some acrobatics, and the remarkable sword dancing using (actual sparking sabers) while twirling to original music composed by Konstantine Lortkipanidze.
Amid the tumultuous relationships and frequent battling (fight choreography compliments of Ben Cunis), moments of whimsy and humor aren’t unwelcome. Ptolemy has a few clownish bits as Cleopatra’s lesser sibling. And Antony’s powerful rival Octavian (ageless out actor Philip Fletcher) engages in peppy propaganda featuring a faux Cleopatra (played by Maryam Najafzada) as a less than virtuous queen enthusiastically engaged in an all-out sex romp.
When Antony and Cleopatra reach their respective ends with sword and adder, it comes almost as a relief. They’ve been through so much. And from start to finish, without uttering a word, Kavsadze and Tsikurishvili share a chemistry that pulls the audience into the grips of the doomed lovers’ palpable passion.
Out & About
Love board games and looking for love?
Quirk Events will host “Board Game Speed Dating for Gay Men” on Thursday, Jan. 22 at 7 p.m. at KBird DC.
Searching for a partner can be challenging. But board games are always fun. So what if you combined board games and finding a partner?
Picture this: You sit down for a night of games. A gaming concierge walks you through several games over the course of the night. You play classics you love and discover brand new games you’ve never heard of, playing each with a different group of fun singles. All while in a great establishment.
At the end of the night, you give your gaming concierge a list of the folks you met that you’d like to date and a list of those you met that you’d like to just hang out with as friends. If any two people put down the same name as each other in either column, then your gaming concierge will make sure you get each other’s e-mail address and you can coordinate a time to hang out.
Tickets cost $31.80 and can be purchased on Eventbrite.
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