Buffalo Theater: Revisit the powerful classic Sept. 17- Oct. 4

By Nathan Andrew Miller

Above: The cast of MusicalFare Theatre’s ‘Hair.’ All photos courtesy of Musicalfare’s Facebook page.

Since its debut in 1967, Hair has challenged audiences both in subject matter and form. I am not normally a fan of shows of this variety; I like plot structure, so I struggle with vignette-style musicals.

I entered the opening night performance of MusicalFare’s Hair, however, with anticipation, mostly because I don’t know the show well but have always enjoyed the score. Almost immediately, my theater guest and I both commented on the creative set, which felt simultaneously like a Bohemian loft and an outdoor courtyard. The actors entered through the audience to invite them into the production — again, usually not a favorite thing of mine, but hugely successful under the vision of co-directors Alexandria Watts and Eric Deeb Weaver, and utilized throughout. Watts and Deeb Weaver have inserted a content disclosure, listed in full at the end of this review, that shows just how much effort went into discussion in the rehearsal room. I believe that open discussion and positive ensemble chemistry directly contributed to the success of this production. I also owe Kari Drozd some serious commendation for her creative and aesthetic costume design. Simple, with pops of color, and a gorgeous use of costume in the Act 1 finale, “Where Do I Go?”

Credit is due to all performers for their buy-in to a free-flowing concept developed by Watts and Deeb Weaver. The entire performance had a pulse, a continuous energy, that was a manifestation of the fluid and “trippy” energy of this show. Theresa Quinn’s band, tucked under a platform to truly incorporate them into the production, was sharp while maintaining an improvisational energy. Aaron Gabriel Saldana, playing acoustic guitar as part of “What a Piece of Work is Man,” stays gorgeously in time with the band below — not an easy feat in the Shea’s 710 space. And though I still feel that body mics are far too loud in this venue, to the point of sometimes garbling lyrics, technical elements were used with great efficiency.

Every single performer — and I rarely say this — deserves acknowledgment for their individual ability. Though I’ll single out a few, please understand that each moment and feature was well-executed. This is a relatively “simple” harmony show — but that’s sometimes a trap. Not here, as the ensemble sound was well-balanced, while duets and trios were performed with an ease that was refreshing to my ear. Good harmony singing is the best! I will say, not as a criticism per se, that some features in the ensemble numbers were not given enough focus by the technical elements. The perfect example is Jasmine Fiero, whose soaring descant in “Hare Krishna” is a musical highlight as she moves through the space with a flower in her hair. I see you, Jas!

Speaking of flowers, I will give some to Emma Theriot for their remarkable individual performance on the song “Frank Mills.” Their vocal instrument is stronger than most, and they belong in a show like this. It’s the perfect blend of musical theater and folk, each note specific and placed well on the voice. I can’t wait to see Theriot in the rest of the Musicalfare season. They are one of a few performers new to my eyes, as is Danielle Nodelman, who is excellent as Sheila Franklin. Not only does she have pipes for days, but she also has the toughest task in the show of rendering “Easy to Be Hard,” after whatever this script’s weak attempt at a book scene is. (Sorry, Ragni and Rado!) Not to fear, though, as Nodelman is here.

Nicholas Mastrodomenico, whose name will also appear on the Musicalfare marquee much more this season, plays this production’s Berger. He’s got the tough task of drawing in the audience by taking his pants off in the first minute of the production, but draw us in he does. Mastrodomenico is definitely giving a 2026 take on the role, both in energy and occasionally in vocal performance, but it’s clear there is a wealth of classic talent in his repertoire. Alex Reiser, who has been coming into his own in Buffalo, is the perfect Claude for this production — cerebral and quiet, but joyous and unapologetic. His voice is crystal clear and not oversung — I would have loved for him to be used in last season’s Jesus Christ Superstar.

The real standout of the show for me, though, is immediately and without debate Lily Jones. If you’ve been living under a theatrical rock in Buffalo, then good morning, starshine; Lily Jones says hello!

Jones is genuinely one of one — I have not seen or heard a performer in Buffalo who sings so well, so comfortably, in this style. She delivers powerful vocals from a healthy, supported base, using her velvety tone to navigate the score effortlessly. Her riffs are melodic and exact, never about showing off and always about letting the music work through her. What an incredible treat to hear her open the show with “Aquarius” and combine with Nodelman on “Let the Sunshine In.”

And just when you think you can’t get enough theatrical treats from this fun and youthful cast, including a deliciously clever cameo from WNY theater icon Bobby Cooke as Margaret Mead, you get to the end. If you don’t know how it ends, I won’t tell you. But find me and let’s talk about how intelligent, powerful and fitting for the times the last moments of this A-list production are. Theater is power. Protest is necessary. And please take the time to support this show, even if you’re afraid you “won’t get it.” Trust me, you’ll get it.

HAIR CONTENT DISCLOSURE IN FULL
HAIR contains depictions of war, violence, death, drug use, police brutality, sexual content, partial nudity, and the use of non-firing weapons. The production also includes profanity, racial slurs, and other language that some audience members may find offensive or distressing.

Originally created in 1967, HAIR reflects the social and political tensions of its time. Some of the language, attitudes, and portrayals of women, Native Americans, African Americans, Vietnamese people, and other groups are unacceptable by today’s standards. We have chosen to present these elements within their historical context to preserve the integrity of the work and original script, and not as an endorsement of these perspectives. We invite audiences to engage critically with the material and to consider how many of the issues raised in HAIR continue to resonate today.

This performance includes loud sound effects, including gunshots, helicopters, explosions, and other war-related sounds, as well as strobe lights, haze, and atmospheric effects.