Displaying items by tag: HAIR

Hot off their record-breaking runs of Jekyll & Hyde and Amélie the Musical, Kokandy Productions is back in 2026 with three full productions, including their first play with music. The season begins with the revolutionary "love-rock" musical HAIR, taking over the Chopin Theater Mainstage for an exhilarating summer of hope and fury. Splashes of tie dye give way to dots of color and light as Sunday in the Park with George comes into focus in the Chopin Downstairs Studio following in the footsteps of Kokandy's award-winning productions of Sondheim's Into the Woods and Sweeney Todd. The season concludes with A Clockwork Orange: A Play with Music, a live adaptation of Anthony Burgess' dystopian novel that brings the cult-classic "horrorshow" to visceral, pulsing, terrifying life on the Chopin Theater Mainstage.

Single tickets for Kokandy's 2026 Season will go on sale Monday, February 2, 2026 at kokandyproductions.com. The Chopin Theater is located at 1543 W. Division St. in Chicago's Wicker Park neighborhood.

In addition to three full productions, Kokandy is excited to continue stewarding the annual Chicago Musical Theatre Festival in 2026. Submission details and performance dates for this celebration of new work and musical theatre writers will be announced in early 2026.

Kokandy Book Club also returns next season, with the first scheduled "meet" on Monday, January 26. This community cabaret is an ongoing collaboration with The Understudy Coffee and Books, 5531 N. Clark St. in Chicago's Andersonville neighborhood. 

"2025 was a year of risks for Kokandy, venturing upstairs for the first time and trying styles and scale we had not yet attempted," says Producing Artistic Director Derek Van Barham. "We're continuing to push in 2026 with a season of color and light. Pulling inspiration from Sondheim's gorgeous lyric, our 2026 season is about the brightness of life, about youth in revolt, about individuals challenging the system, facing the sensory overload of overwhelming obstacles. From tribe members at a protest and an artist at an easel to a disaffected youth strapped to a chair forced to watch the worst of the world, these are stories of souls at a crossroads: to resist or conform, to create or destroy, to build it up or burn it down."

Kokandy Productions' 2026 Season includes:

July 2 – October 18, 2026

HAIR

The American Tribal Love-Rock Musical

Book and Lyrics by Gerome Ragni & James Rado

Music by Galt MacDermot

Directed by Brennan Urbi

on the Chopin Theater Mainstage

Press opening: Saturday, July 18, 2026 at 7 pm

The American tribal love rock musical HAIR celebrates the sixties counterculture in all its barefoot, long-haired, bell-bottomed, beaded and fringed glory. To an infectiously energetic rock beat, the show wows audiences with songs like "Aquarius," "Good Morning, Starshine," "Hair," "I Got Life" and "Let The Sunshine In." Exploring ideas of identity, community, global responsibility and peace, HAIR remains relevant as ever as it examines what it means to be a young person in a changing world.

August 13 – November 11, 2026

Sunday in the Park with George

Book by James Lapine

Music and Lyrics by Stephen Sondheim

Directed by Producing Artistic Director Derek Van Barham

in the Chopin Downstairs Studio

Press opening: Saturday, August 29, 2026 at 7 pm

Inspired by the painting, "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, Sunday in the Park with George, Stephen Sondheim and James Lapine's stunning masterpiece, merges past and present into beautiful, poignant truths about life, love and the creation of art. One of the most acclaimed musicals of our time, this moving study of the enigmatic painter, Georges Seurat, won a Pulitzer Prize and was nominated for an astounding ten Tony Awards, including Best Musical.

November 5, 2026 – January 10, 2027

A Clockwork Orange: A Play with Music

By Anthony Burgess, adapted from his novel

on the Chopin Theater Mainstage

Press opening: Saturday, November 21, 2026 at 7 pm

A Clockwork Orange lures audiences into a glass-edged, testosterone-filled underworld of a dystopian future. The explosive story of little Alex and his rebellious gang of Droogs is a groundbreaking and twisted tale teeming with sexuality and "a bit of the old ultra-violence". As hauntingly relevant today as when Burgess's book first published in 1962 and when Stanley Kubrick's cult classic film caused a stir in 1971, A Clockwork Orange is an unapologetic celebration of the human condition. And Beethoven.

About Kokandy Productions

Founded in 2010, Kokandy Productions seeks to leverage the heightened reality of musical theatre to tell complex and challenging stories, with a focus on contributing to the development of Chicago-based musical theatre artists, and raising the profile of Chicago's non-Equity musical theatre community.

The company's artistic staff is comprised of Derek Van Barham (Producing Artistic Director), Scot T. Kokandy (Executive Producer) and Adrian Abel Azevedo & Leda Hoffman (Artistic Associates). The Board of Directors includes Preston Cropp, Scot T. Kokandy, Danielle Sparklin and Katie Svaicer. 

For additional information, visit kokandyproductions.com. 

Whenever I review a theatre company for the first time I get a bit of "first date nerves", especially when a suburban company (unabashed City snob, c’est moi) is doing such an iconic show. The stakes were even higher cos this was my first time seeing HAIR – I was a little too young in 1968 and somehow never got a chance in the intervening years (never mind how many).

Skokie Theatre Company proved I was in good hands. The cast members greeting guests on the street set the mood, and I was charmed when Woof (Sam Hook) blew me a kiss from the stage. And then Dionne (Niki-Charisse Franco) began to croon the opening bars of ‘Aquarius’ and I relaxed. I knew I could sit back and enjoy the show.

HAIR includes copious profanity, overt drug use and full-frontal nudity, but there was so much MORE to love! Let’s start with the music: several of the songs, from ‘Easy to be Hard’ and ‘Good Morning Starshine’ to the iconic title song are still around today, but I hadn’t realized how very many songs are in Hair: 27 in Act One alone, and all wonderful: ‘Donna’, ‘Hashish’, ‘Colored Spade’, ‘Air’, and the fabulous ‘Initials’. And who knew HAIR had an actual plot? The cast was enormous: nine principals plus five in The Tribe – and each better than the last.

I could say HAIR was flawless, but that would set you wondering just how much of the Kool-Aid I drank; besides, there were a couple of teensy flaws. Sound Designer Chris Cook needs to make some small adjustments with the microphones -- for the most part the soloists came through, but I missed much of Crissy’s (Bridgett Martinez) solo. Mind, this sort of readjustment is routine for first-weekend performances, and my sitting in the front row may have been part of the problem.

Scenic Designer Scott Richardson and Props/Set Decorator Barry Norton wisely kept it simple: the tie-dye background effectively recalled the era, and multiple levels gave Director Derek Van Barham (with Asst. Directors Miranda Coble and Brennan Urbi) plenty of options for staging. Urbi, as Movement Asst, did a hell of a job with nearly continuous dancing and cavorting; good job he had the aisles to expand into. Beth Laske-Miller’s costumes were spot-on, evoking the flower-child tie-dyed-hippie-freak symbols of protest. She accentuated the principals just enough to distinguish them without dissociating them from the Tribe as a whole. And I loved the pansexual vibe that Intimacy Director Christa Retka achieved. Overall, the mood was effervescent, unselfconsciously joyous and totally infectious: we were all drawn into the Tribe.

I love seeing shows with this companion cos I learn so much from them. In one of my early I reviews I asked them, “Just what does a Stage Manager do?” Their reply: “Make certain every person and every prop is in exactly the right place at precisely the right time.” Their guidance let me appreciate what a phenomenal job Stage Manager Amanda Coble did with HAIR. Keeping a cast of 14 on cue through every moment of a 90-minute first act (and the 2^nd act as well); staging, with Musical Director Jeremy Ramey, a total of forty songs, at least 36 of them ensemble pieces … she pulled it off without a bobble.

My companion’s standard for Light Design is ‘if you notice the lighting, they’re doing it wrong.’ Lighting Designer Pat Henderson met, even surpassed this standard with a basic kit used to full advantage. She utilized every possible source of illumination, stage lights, house lights and spotlights, using one particular center-stage spot super-effectively. I loved Musical Director/Conductor Jeremy Ramey’s brilliant idea of placing Shraga Wasserman (Berger) and Joey Chelius (Claude) in the band during Sheila’s (Alexandria Neyhart) solo ‘Easy to be Hard’, bringing the men into the scene and the song without choreography or lines.

Okay, what am I forgetting? Director … stage manager … music … intimacy … aha! The cast!

In a word, ridiculously talented. Okay, that’s two words, and they aren’t mine but Julie Peterson’s (Jeanie), but I’m totally with her on this, for both cast and crew. There was not one single weak voice in the cast, not one. I saw Shraga D Wasserman play Roger in RENT and, though I wrote a ‘Highly Recommended’ review, I remember that Wasserman’s talent outshone the rest of the cast, making for a slightly unbalanced production. No such problem here! Wasserman’s Berger was as good or better than their Roger in RENT, but the cast of HAIR was so stellar that their genius fit in seamlessly. That face of theirs! like living Silly Putty, so incredibly mobile.

I already mentioned that Sam Hook (Woof) stole my heart when he threw me a kiss, and my infatuation grew with his every appearance on stage. It’s hard to believe he’s still a student; I hope he stays in Chicago so I can follow his career.

Claude (Joey Chelius) had perhaps the heaviest dramatic role and his acting was most definitely up to it during the hallucination sequence and the finale. Hud (Justice Largin) was gorgeous and ‘I’m Black’ was a brilliant piece. I already mentioned that Niki-Charisse Franco as Dionne wowed me with her opening performance of ‘Aquarius’, singing with near-operatic potency. The other three principal women, Sheila (Alexandria Neyhart), Jeannie (Julie Peterson), and Crissy (Bridgett Martinez) had equally powerful voices. Ben Isabel was absolutely hilarious as Margaret Meade.

Which leaves The Tribe: Jonah Cochin, Jack Chylinski, Cristian Moreno, Chevy Dixon Saul, and Hannah Silverman. I reiterate: there was not a single weak performer! Jonah Cochin stood out for his delightfully bawdy contribution to ‘Black Boys’.

HAIR revived a lot of old memories for me, both good (dyeing my own love beads) and not-so-great (nightly body counts on TV). The rebellions of the 60’s/70’s shaped what American culture is to this day, and HAIR captured it all: peace and protest, music and drugs, love and fury. In 1969 HAIR was the counterculture’s manifesto. Today it’s a documentary, and a must-see!

MadKap Production's HAIR is being performed at Skokie Theatre through July 30^th. For tickets and/or more information, click here.