GOLDEN – A transformative wave is sweeping through the national performing-arts scene, marking a notable awakening. This shift is exemplified by Miners Alley Playhouse’s innovative production of the 54-year-old pro-love, anti-war musical “Hair: The American Tribal Love-Rock Musical.” This staging not only revives a classic but also brings fresh perspectives that resonate with contemporary audiences.

The creative journey for this rendition is distinct from the countless previous interpretations of “Hair.” In 2022, artistic teams are delving deeper, posing a variety of thought-provoking questions that challenge the status quo. This evolution is evident in the vibrant and dynamic performances that are now gracing the stage, reflecting a more profound understanding of the material.

“Each moment of this show has been crafted with deep introspection,” shared Director Len Matheo. His cast, which celebrates diversity with a multi-ethnic and multi-gender composition, not only captures the essence of the original production but also embodies a more authentic representation of gender-fluid identities. This includes two non-binary actors among the ensemble, enhancing the connection to the show’s original spirit.

In a pivotal scene where one cast member, assigned a male identity at birth, dramatically burns their draft card, the implications resonate more profoundly today than ever before. “In 1969, a person’s gender identity was irrelevant to the government, which would send them off to war regardless,” Matheo explained. “This powerful contrast adds layers of poignancy and beauty to our performance, making it resonate with modern audiences.”

Prior to the #MeToo movement, actors often faced expectations to conform to any narrative, regardless of personal experiences or ideological beliefs. Performers were frequently required to engage in actions that could evoke past traumas or moral dilemmas without any regard for their comfort.

However, in the wake of #MeToo, theater companies are now compelled to consider the emotional well-being of actors during the creative process. This includes soliciting genuine feedback about physical interactions, such as being touched or kissed, and re-evaluating the use of language that has shifted in meaning over the years, particularly terms that carry cultural weight.

Among the most contentious words in the theatrical lexicon is the n-word. In this production of “Hair,” the creative team has opted to omit it entirely, despite its original provocative intent in the iconic anti-war song “Three-Five-Zero-Zero.”

“Prisoners in (n-word) town, it’s a dirty little war. Three Five Zero Zero. Take weapons up and begin to kill. Watch the long, long armies drifting home.”

The title of the song references Allen Ginsberg’s 1966 poem, “Wichita Vortex Sutra,” where he criticizes the military’s numbers game during the Vietnam War. Ginsberg famously recited the number of enemy casualties month by month, emphasizing the human cost of war: “Three-Five-Zero-Zero.”

Throughout its history, the song has been performed countless times, but Matheo expressed discomfort with anyone using the n-word, regardless of their background. After discussions with his team, he decided to keep the song while eliminating the problematic term.

“This entire production is filled with sensitive topics that we meticulously reviewed,” Matheo noted. “I knew I could not direct ‘Hair’ in 2022 without full collaboration from my cast. I assured them, ‘I will never ask you to do anything that makes you uncomfortable or infringes upon your humanity.’”

Such sensitivity is a stark contrast to the past, where directors rarely considered the emotional safety of their performers.

Many people may not recall when “Hair” first attempted to tour Denver in 1971, but the police response was anything but welcoming. Upon arrival, authorities invoked a previously untested nudity law, preventing the show from debuting at what is now the Ellie Caulkins Opera House. The production features a scene where actors briefly disrobe, a crucial narrative element according to Matheo, though not all cast members must participate in the same way.

“The nude scene symbolizes a protest against war, where the characters strip away their clothing to declare, ‘We will not be ignored,’” Matheo explained. “I decided that each actor has the autonomy to choose whether or not to be naked, and they are free to change their minds from performance to performance.”

This represents a new creative landscape that many have been advocating for. Emerging from the pandemic and the heightened awareness brought on by movements like Black Lives Matter, several Broadway creators have made significant modifications to their shows, addressing past insensitivities. Productions like “Hamilton,” “The Lion King,” and “The Book of Mormon” have undergone changes to better reflect modern sensibilities.

“The changes we are witnessing are a reflection of the times,” Matheo stated. “I made the best decisions I could in this evolving landscape, and I stand firmly behind every choice.”

These adjustments are intended to foster healthier, more inclusive creative environments.

Join Nora Lynch for a Powerful Evening of Comedy and Activism

While it may seem counterintuitive for a comedy event, Denver’s Nora Lynch emphasizes that her headlining performance next Wednesday (Aug. 31) at Comedy Works South is anything but humorous.

The Colorado Women’s Bar Association is hosting a significant benefit titled “Don’t ‘Kid’ Me,” which will feature an engaging evening of comedy, drinks, and important discussions surrounding reproductive justice in a post-Roe environment. This event aims to raise awareness and foster dialogue about the critical issues affecting women’s rights today.

“I don’t find humor in these circumstances,” said Lynch, an accomplished writer and a graduate of Marycrest High School. She has collaborated with her husband, Phil Palisoul, on sitcoms across major networks. The rise of political comedy, from streaming specials to late-night talk shows, has contributed to the illusion that comedy can address pressing issues, she argues. However, Lynch believes that comedy alone fails to create meaningful solutions.

“We’ve experienced 25 years of unparalleled satire in comedy history, yet as a society, we are further entrenched in problematic paths,” Lynch lamented. “What is humorous about stripping away a woman’s fundamental right to self-autonomy? It’s not a joke; it’s a horrifying reality. I aim not to entertain but to awaken my audience to the urgency of our situation. Those who perpetuate fascism cannot be reasoned with; they must be confronted and overcome.”

The benefit will kick off with a panel discussion focused on reproductive justice, featuring notable speakers such as Colorado Sen. Julie Gonzales, Katherine Riley from COLOR (Colorado Organization for Latina Opportunity and Reproductive Rights), and Dr. Julie Winkle, moderated by attorney Kiki Council from The Forefront Project.

This cause resonates deeply with Lynch, whose mother, Suzanne Harvey Lynch, was a trailblazing figure in the Colorado Women’s Bar Association, practicing law for over 60 years.

“My mother’s commitment to reproductive rights was deeply personal,” Lynch shared. “She endured eight pregnancies within a decade: five resulted in live births, one ended tragically, and the remainder were miscarriages. Her journey instilled in her a profound belief in the right to control one’s own body, a right she felt was constantly denied to her.”

Next Wednesday, Lynch will be joined by Hayden Kristal, a self-identified “deaf, bisexual, Jewish, queer activist and stand-up comedian,” to emphasize the event’s serious objectives.

“The goal is to inspire action, not merely laughter,” Lynch concluded.

Discover John Hendrickson’s Groundbreaking Memoir on Stuttering

John Hendrickson, who began his journalism career as a rock-music intern at The Denver Post in 2012-13, has authored a highly anticipated memoir titled “Life on Delay: Making Peace with a Stutter,” which is now available for pre-order. This book offers an intimate perspective into the complexities of living with a speech impediment.

Hendrickson’s life took a pivotal turn nine months before the 2020 presidential election, when he interviewed Joe Biden, a fellow stutterer, for a remarkable essay in The Atlantic. This piece allowed millions to view Biden’s verbal challenges on the campaign trail with a newfound empathy.

“It doesn’t — can’t define who you are,” Biden reassured Hendrickson, a talented young writer who overcame significant speaking challenges to rise to the position of Senior Editor at The Atlantic</b