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Alameda Civic Light Opera's production of Hair shares a different kind of patriotism through its characters.

As far as revivals go, there are few plays as poignant for today's America as Hair. Unfortunately apropos, it deals with foreign wars, racial tension, environmental preservation and sexual freedom — all of which are still issues in this country.

Described as an "American Tribal Love-Rock Musical," Hair was first produced off Broadway on Oct. 17, 1967. It was created by two actors, James Rado and Gerome Ragni, who started work on the play in 1964. They later met with Canadian composer Galt MacDermot and this collaboration became Hair.

Because of its counter-culture message, use of profanity, drugs and nudity onstage, the production had a difficult journey to the Great White Way — but finally hit Broadway in late 1968. There were some small changes made to the show, but its essence and messages remained intact.

Upon entering the theater for this production, an initial impression could be that the stage is a bit underwhelming. The cast is scattered throughout the theater passing out flowers and offering face paintings - behind them stands a multi-leveled Jackson Pollack bespeckled assemblage of flats. Each flat displays words like peace, freedom and love. There is a multi-media screen, center back, with a vivid projection of the title of the play. The initial impression is quickly swallowed however, by a simple, yet effective lighting design — some interesting multi-media projections — and the power of the play's youthfully exuberant cast.

Jeff Teague, artistic and executive director of the Alameda Civic Light Opera, again dons his director's hat — and a couple of others (choreographer, co-set designer, multi-media designer) to pilot this production. His staging is wonderful throughout. Capturing the chaotic jubilation of the '60s in a succinct, artistic way is a tall order — but Teague pulls it off effortlessly, giving each song an identity and personality all its own. His multi-media choices range from effective to powerful.

Whether it's the result of their youth, talent or a combination of the two, the cast of this show, led by Paul Ziller (Berger) and Ryan Rigazzi (Claude), is far and away the play's strongest asset. Their emotional commitment to the material is dead-on. Their bravery in tackling the material is elegant, and their energy in performing the material makes it fly. Although the play itself meanders a bit in its own indulgence, the cast makes every moment entertaining if not meaningful. Any lack of subtlety this production has is erased by the pitch-perfect voices and charisma this group emanates from the stage.

As is commonplace for an ACLO performance, the orchestra is absolutely top notch — and there really isn't anything else to be said besides "bravo."

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ACLO's production of Hair is filled with colorful moments like the one pictured.

Upon leaving this enjoyable production, I noticed an especially poignant juxtaposition in the lobby: Directly to the left of a case displaying pictures of the play is a plaque. On that plaque is displayed the names of all of the Encinal and Alameda high school students who lost their lives fighting for our country in the Korean and Vietnam wars.

Whether this was a planned or unplanned juxtaposition, it is a powerful reminder that heroes in this country come in all shapes and sizes. They have carried guns and picket signs. They have marched onto beaches and city halls. They have courageously stood up to oppression of all kinds. They are defenders of something bigger than themselves, and their unique sacrifices deserve our unending gratitude.

They, seen in the spirit of this play — and in the souls our men and women abroad — are America.

Higgins is a theater and film critic. You can subscribe to his film review e-mail list @