Kokandy Productions: Hair
Gavin Rhys, Diana Marilyn Alvarez, Nicki Rossi, Chosen Mitchell, Quinn Simmons, Stone TeSelle, Shayla Florence, Joshua Emmanuel and Zac Richey
Kokandy Productions Presents HAIR Review - Welcome To The Tribe
TLDR: 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.
Diana Marilyn Alvarez, Joshua Emmanuel, Chosen Mitchell, Kijani X and Caitlin Dobbins
Summer Of ‘26
There's nothing like the freedom of summer. Whether it's the feeling of school is out, the abundance of street festivals, or just being able to turn your face towards a warm sun, there's this innate feeling of breaking out of normal routines sprinkled with positivity. A giant plywood board stands off to the right of the doorway as we enter the Chopin Theatre bearing the giant announcement it's the Summer of 2026. A few cast members walk around the stage with sparkles dotting their face and rainbow butterfly clips in their hair. They sit on raised steps placed around the perimeter of the stage, also made from unfinished plywood, that are also used as audience seats for those wanting to be up close and personal. They’re also canvases with activist statements, inspirational phrases, and sunny images drawn all over making it feel like this is a space where people with similar mindsets can gather.
A man dressed in a cream, linen shirt steps up onto a raised platform in the center of the stage. As he places the needle on the record next to him, Chosen Mitchell walks out with bright purple hair and lipstick, draped in silk scarves and skirts ringing in the “Age of Aquarius.” The rest of the cast joins, dressed similarly in flowy fabrics and accessories forming the tribe of Hair.
When Kokandy chose their season, it was either very pointed in choosing a show set during a war or like the Simpsons, they’re just eerily accurate at predicting that it’d be relevant to our current state of the union. This production of Hair aims to take the similar feeling of the original time period in the 60s around the Vietnam War and hippie counterculture and apply it to today.
The Music of The 60s
We're introduced to these members of the “tribe,” and it's a little reminiscent of Cats as they sing their intro songs about themselves. But each one makes it clear they are all about community and loving one another. There’s songs about the culture within the tribe - who is with who, sexual preferences, and raging against authoritative structures. However outside of their circle, they must contend with the imminent war and threat of being drafted.
With the deconstructed staging, our focus is on the characters and their songs. Though, the scaffolding and bare set makes this production feel more like “Hair: In Concert” than Hair the musical. We get the environment that Hair is meant to invoke, but it feels more performance-lite, like singing the songs in costume with some movement.
As we're taken through the repertoire, the songs are delivered with phenomenal talent. Catherine Rodriguez O’Connor as Sheila effortlessly belts “I Believe in Love” as she dresses in all yellow and warm colors. She loves easily, but also feels the sting of hurt just as deeply.
And she's got the best of both worlds with the two men she's involved with. Berger and Claude (Zac Richey and Gavin Rhys) have dynamically different personalities. Richey struts his stuff across the top of the plywood seating, peacocking and drawing attention to his ahem assets. And Rhys stands more demurely to the side as a pacifist and as he gently takes people’s hands with care and affection, we see why many members of the tribe are hung up on him.
So even though the majority of the action feels like plant in place and sing a song, if hearing the music of Hair is what you’re most interested in, you won’t be disappointed.
Catherine Rodriguez O’Connor and the cast
The After Party Thoughts
In my opinion, Kokandy’s production of Hair missed a couple marks. The talent is phenomenal and the atmosphere they’ve created to be inclusive and welcoming is appreciated. But I fear the production lacked grounding. By trying to pull it out of the 60s to tie more closely to today felt like they left it in this nebulous space - we haven’t quite left the 60s, but we’re not in modern day either. We know there’s themes that relate to both time periods, but by trying to make it general and without a distinct point of view, it feels one note and not actually hitting on anything.
The set and staging also felt like it suffered. It’s theatre in the round with audiences on all sides with just two moving platforms as the main set pieces. Sightlines were a struggle at times and without a lot of variance, the setting ended up being vague and every scene blends together.
For those that are looking for a well-conceived production of Hair or it's your first time seeing the show, this probably isn’t the production for you. However, if you love the music or are a big time fan of the musical, you will probably enjoy seeing this version of the production!
SOMEWHAT RECOMMENDED
Stone TeSelle, Zac Richey and Joshua Emmanuel
When
Now through September 13, 2026
Where
Chopin Theatre
1543 W Division St.
Chicago, IL 60642
Runtime: 2hrs 30min, including intermission
Tickets
$28.52+
Tickets can be purchased through the Kokandy Productions website
Photos
Michael Brosilow
Find Allie and The After Party featured on Theatre in Chicago
CAST
Gavin Rhys (Claude)
Catherine Rodriguez O’Connor (Sheila)
Zac Richey (Berger)
Amy Yesom Kim (Crissy)
Chosen Mitchell (Dionne)
Stone TeSelle (Woof)
Nicki Rossi (Jeannie)
Joshua Emmanuel (Hud)
Diana Marilyn Alvarez (Ensemble)
Caitlin Dobbins (Ensemble)
Shayla Florence (Ensemble)
Isadora Coco Gonzalez (Ensemble)
Wolfie J (Ensemble)
Mateo Palm (Ensemble)
Quinn Simmons (Ensemble)
Kijani X (Ensemble)
Justin Aponte (Swing)
Morgan Barber (Swing)
Kevin Chlapecka (Swing)
Allyriane Huq (Swing)
Víctór López (Swing)
Kenny Miller (Swing)
Jack Saunders (Swing)
Maliha Sayed (Swing)
Nicki Rossi, Diana Marilyn Alvarez, Gavin Rhys, Stone TeSelle and Chosen Mitchell
CREATIVE
Brennan Urbi (Director / Choreographer)
Kara Olander (Music Director)
Gerome Ragni (Book / Lyrics)
James Rado (Book / Lyrics)
Galt MacDermot (Music)
Eleanor Kahn (Scenic Designer)
Rachel Sypniewski (Costume Designer)
G "Max" Maxin IV (Lighting Designer)
Matt Reich (Sound Designer)
Lauren Ramos (Properties Designer)
Syd Genco (Makeup Designer)
Keith Ryan (Wig Designer)
Kirsten Baity (Intimacy Director)
Chels Morgan (Cultural Competency Specialist)
Shane Roberie (Casting Director)
Nicholas Reinhart (Production Manager)
Kendyl Meyer (Associate Production Manager)
David Moreland (Technical Director)
Lynsy Folckomer (A1)
Alfonso Moreno (A2)
Shelby Burgus (Stage Manager)
Yasmeen "Yaz" Abiad (Assistant Stage Manager)
Michael Coppola (Stage Management Intern)
Scot Kokandy (Executive Producer)
Derek Van Barham (Producing Artistic Director)