Hair (Musical)

Hair (musical) 1

This article article is about about the musica musical. l. For the musical musical film, see Hair see Hair (film). (film).

Histor tory

and  Gerome Hair  was conceived by actors  James Rado and Gerome

is a rock musica musicall  with a book and lyrics by  James Rado and Rado  and Gerome Gero me Ragn Ragnii and music music by Galt MacD MacDermo ermott. A product product of the hippie the hippie counterculture and counterculture  and sexual  sexual revolution of revolution of the 1960s, several of its songs became anthems of the  antiVietnam War peace movement. movement. The musica musical’s l’s profanprofanity, its depiction of the use of illegal drugs, its treatment of  of   sexuality, sexuality, its irreverence for the  American flag, flag, and its nude scene caused much comment and controversy. [1] The musical musical broke broke new ground in   musical theatr theatree by defining the genre of “rock musical”, using a racially integrated cast, and inviting the audience onstage for a "Be" Be[2] In"" finale. In Hair: Hair: The American American Tribal Love-Rock Love-Rock Musical  Musical 

Ragni. The two met in 1964 when they Ragni. they performe performed d together in the Off-Broadway the  Off-Broadway flop  flop  Hang Down Your Head  and Die,[4] and they began writing  Hair  together in late 1964.[5][6] The main characters were autobiographical, with Rado’s Claude being a pensive romantic and Ragni’s Berger Berger an extro extrove vert. rt. Their Their close close relati relations onship, hip, includi including ng its volatility, volatility, was reflected in the musical. Rado explained, explained, “We were great great friends. friends. It was a passionate kind of relationship that we directed into creativity, into writing, into creating this piece. We put the drama between us on stage.” [7] Rado described described the inspira inspiratio tion n for for Hair  as   as “a combina combinatio tion n of some characters we met in the streets, people we knew and our own imaginations. imaginations. We knew knew this group of kids in the East the  East Village who Village  who were dropping were  dropping out and out  and  dodging the draft, draft, and there were also lots of articles in the press about how kids were being kicked out of school for growing their hair long”. [2] He recalled, “There was so much excitement in the streets and the parks and the hippie areas, and we thought if we could transmit this excitement to the stage it would be wonderful.... wonderful.... We hung out with them and went to their Be-Ins their  Be-Ins [and]  [and] let our hair grow.”[8] Many Many cast cast memb members ers (Shelle Shelleyy Plimpton in particul particular) ar) were were [2] recruited right off the street. Rado said, “It was very important historically, and if we hadn't written it, there'd not not be any any exam exampl ples es.. You coul could d read read abou aboutt it and and see see film film clips, but you'd never  experience  it. We thought, 'This is happening in the streets,' and we wanted to bring it to the stage.” [4]

tells the the story story of the the “tribe “tribe”, ”, a group group of polit politic icall allyy acHair  tells tive, long-haired tive, long-haired hippies  hippies of the "Age " Age of Aquarius" Aquarius" living a   bohemian  bohemian   life in New York City and fighting against conscription  into the  Vietnam War. War. Claude Claude,, his good good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves, and the sexual revolution with their rebellion against the war and their conserv conservati ative ve parents and society. society. Ultimat Ultimatel ely, y, Claude Claude must decide whether to resist to  resist the draft as draft  as his friends have done, or to succumb to the pressures of his parents (and conservative America) to serve in Vietnam, compromising his pacifistic his pacifistic principles  principles and risking his life. After an off-Broadway an  off-Broadway debut  debut in October 1967 at Joseph at  Joseph Papp's Papp 's Public  Public Theater and Theater  and a subsequent run in a midtown a  midtown discothèque   space space,, the show opened on   Broadway in April April 1968 and ran for 1,750 1,750 perf perform ormanc ances es.. SimulSimultaneous taneous product production ionss in cities cities across across the United United States States and Europe followed shortly thereafter, including a successf cessful ul London London producti production on that ran for for 1,997 perforperformances. mances. Since Since then, then, numerous numerous productio productions ns have been staged around the world, spawning dozens of recordings of the musical, including the 3 million-selling   original Broadway cast recording. recording. Some Some of the songs songs fro from m its score became Top became  Top 10 hits, 10  hits, and a feature a  feature film adaptation was release released d in 1979. A Broadway Broadway revival revival opened opened on March 31, 2009, earning strong reviews and winning the Tony Award and Award  and Drama  Drama Desk Award for Award  for best revival of a musical. musical. In 2008, Time  magazine wrote, “Today  Hair  seems, if anything, more daring than ever.”[3]

Rado Rado and Ragni Ragni came came from differ differen entt artis artisti ticc backbackgrounds. In college, Rado wrote musical musical revues  revues and  and aspired to be a Broadway composer in the  the   Rodgers and Hammerstein   trad tradit itio ion. n. He went went on to study study acting acting with  Lee Strasberg. Strasberg. Ragni, Ragni, on the other other hand, hand, was an activ activee member member of   The Open Theater Theater, one one of severa severall groups, mostly Off-off mostly  Off-off Broadway, Broadway, that were developing experimental theatre techniques. theatre  techniques.[9] He introduced Rado to the modern theatre styles and methods being developed at The Open Theater.[10] In 1966, while the two were developing   Hair , Ragni Ragni performe performed d in The Open Theater’s production of Megan of  Megan Terry's Terry's play,   Viet Rock , a story about young men being deployed to the Vietnam War.[11] In addit additio ion n to the the war war theme, theme, Viet Rock  Rock employed the improvisational exercises being used in the experimental theatre scene and later used in the development of Hair .[6][12] 1

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Rado Rado and Ragni Ragni broug brought ht thei theirr draft draftss of the the show show to producer producer Eric Blau who, through through common frien friend d Nat Shapiro,, conne Shapiro connect cted ed the two two with with Canadi Canadian an compo composer ser Galt Galt [13] MacDermot. MacDermot had won a Grammy a  Grammy Award in 1961 1961 for his his compo composi siti tion on “Afric “African an Waltz” altz” (reco (record rded ed by [14] Cannonball Adderley). Adderley). The composer’s lifestyle was in marked contrast contrast to his co-creators: “I had short hair, a wife, and, at that point, four children, and I lived on Staten Island.” Island.”[8] “I never even heard of a hippie when I met Rado and Ragni.”[4] But he shared their enthusiasm to do a rock and roll show.[4] “We work independently,” explained MacDermot in May 1968. “I prefer it that way. They They hand me the material material.. I set it to music.” music.”[15] MacDermot wrote the first score in three weeks, [7] starting with the songs “I Got Life”, “Ain't Got No”, “Where Do I Go” and the title song. [2] He first wrote “Aquarius” as an unconventional art piece, but later rewrote it into an uplifting anthem.[7]

1

HIST HISTOR ORY  Y 

duction did not go smoothly: “The rehearsal and casting process was confused, confused, the material itself incomprehensiincomprehensible to many of the theate theater’s r’s staff. The director, director, Gerald  Gerald Freedman,, the theater’s associate artistic director, withFreedman drew drew in frustra rustrati tion on during during the the final final week week of rehe rehears arsal alss and offered offered his resignation. resignation. Papp accepted accepted it, and the choreographer  Anna Sokolow took Sokolow  took over over the show.... show.... After After a disastrous final final dress rehearsal, rehearsal, Papp wired Mr. Freedman in Washington, where he'd fled: 'Please come back.' Mr. Freedman did.”[16] Hair  premiered off-Broadway at the Public on October

17, 1967 and ran for a limited engagement of six weeks. The lead roles were played by Walker Daniels as Claude, Ragni as Berger, Jill O'Hara as Sheila, Steve Dean as Woof, Arnold Woof,  Arnold Wilkerson as Wilkerson  as Hud, Sally Hud,  Sally Eaton as Eaton  as Jeanie [17] and Shelley Plimpton as Crissy. Set design was by Ming Cho Lee, Lee, costume design by Theoni Aldredge, Aldredge, and although Anna Sokolow began rehearsals as choreographer, Freedman received received choreographer choreographer credit.[18] Although the production had a “tepid critical reception”, it was popular with audiences.[16] A  cast album was album  was released in 1967. Chicago businessman Michael businessman Michael Butler was Butler  was planning to run for the U.S. the U.S. Senate on Senate on an anti-war platform. After seeing seeing an ad for Hair  in  in  The New York Times  that  that led him to believe the show was about Native about  Native Americans, Americans, he watched the Public’s production several times[8] and joined forces with Joe Papp to reproduce the show at another New York venue after the close of its run at the Public. Papp and Butler first moved the show to The to  The Cheetah, Cheetah, a discothèq cothèque ue at 53rd 53rd Stree Streett and Broad Broadwa way. y. It opene opened d ther theree on [19] December 22, 1967 and ran for 45 performances.[2] Ther Theree was was no nudi nudity ty in eith either er the the Publ Public ic Thea Theate terr or Chee Chee-[1] tah production. production.

1.2

Revisi Revision on for Broadw Broadway ay

 underwent a thorough overhaul between its closing Hair  underwent

Poster from The Cheetah with the  Native American theme American  theme

at the Cheetah in January 1968 and its Broadway opening three months later. The off-Broadway book, already light on plot, was loosened even further[20] and made more realistic. For example, Claude had been written as a space alien who aspires to be a cinematic director; he became human for the Broadway version.[21] Moreover, 13 new songs were added.[20] The song “Let the Sun Shine In” was added so that the ending would be more uplifting. [7]

Before the move to Broadway, the creative team hired director  Tom O'Horgan, O'Horgan, who had built a reputation di1.1 Off-Broad Off-Broadwa way y product production ionss recting recting experi experiment mental al theate theaterr at the La MaMa Expe Experime rimenntal Theatre Club. Club. He had been the authors’ authors’ first choic choicee The crea creato tors rs pitc pitche hed d the show show to Broad Broadwa wayy produ produce cers rs and to direct the Public Theater production, but he was in received many rejections. rejections. Eventually Joe Eventually  Joe Papp, Papp, who ran Europe at the time.[22] Newsweek  described O'Horgan’s the New the  New York Shakespeare Festival, Festival, decided he wanted directing style as “sensual, savage, and thoroughly musiHair   to open the new  Public Theater  (still under con- cal... [he] disintegrates verbal structure and often breaks struction) in New York City’s East City’s  East Village. Village. The musimusi- up and distributes narrative and even character among [4] cal was Papp’s first non-Shakespeare non-Shakespeare offering.  offering. The pro- different different actors.... He enjoys enjoys sensory bombardment.” bombardment.”[23]

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In rehearsals, O'Horgan used techniques passed down by Viola Spolin and Paul Sills involving role playing and improvisational “games”. Many of the improvisations tried during this process were incorporated into the Broadway script.[24] O'Horgan and new choreographer Julie Arenal encouraged freedom and spontaneity in their actors, introducing “an organic, expansive style of staging” that had never been seen before on Broadway.[4] The inspiration to include nudity came when the authors saw an anti-war demonstration in Central Park where two men stripped naked as an expression of defiance and freedom, and they decided to incorporate the idea into the show.[4] O'Horgan had used nudity in many of the plays he directed, and he helped integrate the idea into the fabric of the show.[2] Papp declined to pursue a Broadway production, and so Butler produced the show himself. For a time it seemed that Butler would be unable to secure a Broadway theater, as the Shuberts, Nederlanders and other theater owners deemed the material too controversial. However, Butler had family connections and knew important people; he persuaded Biltmore Theatre owner David Cogan to make his venue available.[25]

Sheila is carried onstage (“I Believe in Love”) and leads the tribe in a protest chant. The tribe reprises “Ain't Got No (Grass)". Jeanie, an eccentric young woman, appears wearing a gas mask, satirizing pollution (“Air”). She is pregnant and in love with Claude. Although she wishes it was Claude’s baby, she was “knocked up by some crazy speed freak”. The tribe link together LBJ (President Lyndon B. Johnson), FBI (the Federal Bureau of Investigation), CIA (the Central Intelligence Agency) and LSD (“Initials”). Six members of the tribe appear dressed as Claude’s parents, berating him for his various transgressions – he does not have a job, and he collects “mountains of paper” clippings and notes. They say that they will not give him any more money, and “the army'll make a man out of you”. In defiance, Claude leads the tribe in celebrating their vitality (“I Got Life”). After handing out imaginary pills to the tribe members, saying the pills are for high-profile people such as Richard Nixon, the Pope, and "Alabama Wallace", Berger relates how he was expelled from high school (“Goin' Down”). Claude returns from his draft board physical, which he passed. He pretends to burn his Vietnam War draft card, which Berger reveals as a library card. Claude agonizes about what to do about being drafted.

Two tribe members dressed as tourists come down the aisle to ask the tribe why they have such long hair. In answer, Claude and Berger lead the tribe in explaining the significance of their “Hair”. The tourist lady states that Act I kids should “be free, no guilt” and should “do whatever Claude, the nominal leader of the “tribe”, sits center stage you want, just so long as you don't hurt anyone.” She obas the tribe mingles with the audience. Tribe members serves that long hair is natural, like the “elegant plumage” Sheila, a New York University  student who is a deter- of male birds (“My Conviction”). She opens her coat to mined political activist, and Berger, an irreverent free reveal that she’s a man in drag. As the couple leaves, the spirit, cut a lock of Claude’s hair and burn it in a re- tribe calls her Margaret Mead. ceptacle. After the tribe converges in slow-motion to- Sheila gives Berger a yellow shirt. He goofs around and ward the stage, through the audience, they begin their ends up tearing it in two. Sheila voices her distress that celebration as children of the Age of Aquarius (“Aquar- Berger seems to care more about the “bleeding crowd” ius”). Berger removes his trousers to reveal a loincloth. than about her ("Easy to Be Hard"). Jeanie summaInteracting with the audience, he introduces himself as a rizes everyone’s romantic entanglements: “I'm hung up “psychedelic teddy bear” and reveals that he is “looking on Claude, Sheila’s hung up on Berger, Berger is hung for my Donna” (“Donna”). up everywhere. Claude is hung up on a cross over Sheila The tribe recites a list of pharmaceuticals, legal and ille- and Berger.” The tribe runs out to the audience with fliers gal (“Hashish”). Woof, a gentle soul, extols several sexual inviting them to a Be-In. Berger, Woof and another tribe practices (“Sodomy”) and says, “I grow things.” He loves member pay satiric tribute to the American flag as they plants, his family and the audience, telling the audience, fold it (“Don't Put it Down”). After young and innocent “We are all one.” Hud, a militant African-American, is Crissy describes “Frank Mills”, a boy she’s looking for, carried in upside down on a pole. He declares him- the tribe participates in the “Be-In”. The men of the tribe self “president of the United States of love” (“Colored burn their draft cards. Claude puts his card in the fire, Spade”). In a fake English accent, Claude says that he is then changes his mind and pulls it out. He asks, “where “the most beautiful beast in the forest” from "Manchester, is the something, where is the someone, that tells me why England”. A tribe member reminds him that he’s re- I live and die?" (“Where Do I Go”). The tribe emerges ally from  Flushing, New York. Hud, Woof and Berger naked, intoning “beads, flowers, freedom, happiness.”

2

Synopsis

declare what color they are (“I'm Black”), while Claude says that he’s “invisible”. The tribe recites a list of things Act II they lack (“Ain't Got No”). Four African-American tribe members recite street signs in symbolic sequence (“Dead Four tribe members have the “Electric Blues”. After a End”). black-out, the tribe enters worshiping “Oh Great God of

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Power.” Claude returns from the induction center, and tribe members act out an imagined conversation from Claude’s draft interview, with Hud saying “the draft is white people sending black people to make war on the yellow people to defend the land they stole from the red people”. Claude gives Woof a  Mick Jagger poster, and Woof is excited about the gift, as he has said he’s hung up on Jagger. Three white women of the tribe tell why they like “Black Boys” (“black boys are delicious...”), and three black women of the tribe, dressed like The Supremes, explain why they like “White Boys” (“white boys are so pretty...”). Berger gives a joint to Claude that is laced with a hallucinogen. Claude starts to trip as the tribe acts out his visions (“Walking in Space”). He hallucinates that he is skydiving from a plane into the jungles of Vietnam. Berger appears as General George Washington and is told to retreat because of an Indian attack. The Indians shoot all of Washington’s men. General Ulysses S. Grant appears and begins a roll call: Abraham Lincoln (played by a black female tribe member), John Wilkes Booth, Calvin Coolidge, Clark Gable, Scarlett O'Hara, Aretha Franklin, Colonel George Custer. Claude Bukowski is called in the roll call, but Clark Gable says “he couldn't make it”. They all dance a minuet until three African witch doctors kill them – all except for Abraham Lincoln who says, “I'm one of you”. Lincoln, after the three Africans sing his praises, recites an alternate version of the Gettysburg Address (“Abie Baby”). Booth shoots Lincoln, but Lincoln says to him, “I ain't dying for no white man”.

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EARLY PRODUCTIONS 

ters dressed in a military uniform, his hair short, but they do not see him because he is an invisible spirit. Claude says, “like it or not, they got me.” Claude and everyone sing “Flesh Failures”. The tribe moves in front of Claude as Sheila and Dionne take up the lyric. The whole tribe launches into “Let the Sun Shine In”, and as they exit, they reveal Claude lying down center stage on a black cloth. During the curtain call, the tribe reprises “Let the Sun Shine In” and brings audience members up on stage to dance. (Note:  This plot summary is based on the original Broadway script. The script has varied in subsequent productions.)

3 3.1

Early productions Broadway

Hair   opened on Broadway at the Biltmore Theatre on

April 29, 1968. The production was directed by Tom O'Horgan and choreographed by Julie Arenal, with set design by Robin Wagner, costume design by Nancy Potts, and lighting design by Jules Fisher. The original Broadway “tribe” (i.e., cast) included authors Rado and Ragni, who played the lead roles of Claude and Berger, respectively, and Lynn Kellogg as Sheila, Lamont Washington as Hud, Sally Eaton and Shelley Plimpton reprising their off-Broadway roles as Jeanie and Crissy, Melba Moore as Dionne, Steve Curry as Woof, Ronnie Dyson (who sang As the visions continue, four Buddhist monks enter. One “Aquarius”), Paul Jabara and Diane Keaton (both Moore monk pours a can of gasoline over another monk, who and Keaton later played Sheila).[26] Among the performis set afire (reminiscent of the  self-immolation of Thích ers who appeared in Hair during its original Broadway run Quảng Đức) and runs off screaming. Three Catholic nuns were Ben Vereen, Keith Carradine, Barry McGuire, Ted strangle the three remaining Buddhist monks. Three asLange,  Meat Loaf, Kenny Seymour (of Little Anthony tronauts shoot the nuns with ray guns. Three Chinese and The Imperials),   Joe Butler   (of the  Lovin' Spoonpeople stab the astronauts with knives. Three Native ful), Peppy Castro (of the Blues Magoos), Robin McNaAmericans kill the Chinese with bows and tomahawks. mara, Heather MacRae (daughter of  Gordon MacRae), Three green berets kill the Native Americans with maEddie Rambeau, Vicki Sue Robinson, Beverly Bremers chine guns and then kill each other. A Sergeant and two and Kim Milford.[26] parents appear holding up a suit on a hanger. The parents talk to the suit as if it is their son and they are very proud The  Hair  team soon became embroiled in a lawsuit with of him. The bodies rise and play like children. The play the organizers of the Tony Awards. After assuring proescalates to violence until they are all dead again. They ducer Michael Butler that commencing previews by April rise again ("Three-Five-Zero-Zero") and, at the end of 3, 1968 would assure eligibility for consideration for the the trip sequence, two tribe members sing, over the dead 1968 Tonys, the New York Theatre League ruled Hair  inbodies, a melody set to a Shakespeare lyric about the no- eligible, moving thecutoff date to March 19. The producbility of Man (“What A Piece of Work Is Man”). ers brought suit[27] but were unable to force the League to reconsider.[28] At the 1969 Tonys,  Hair  was nominated After the trip, Claude says “I can't take this moment to for Best Musical and  Best Director but lost out to  1776  moment living on the streets.... I know what I want to be... in both categories.[29] The production ran for four years invisible”. As they “look at the moon,” Sheila and the othand 1,750 performances, closing on July 1, 1972.[26] ers enjoy a light moment ("Good Morning Starshine"). The tribe pays tribute to an old mattress (“The Bed”). Claude is left alone with his doubts. He leaves as the tribe 3.2 Early regional productions enters wrapped in blankets in the midst of a snow storm. They start a protest chant and then wonder where Claude The West Coast version played at the Aquarius Theatre in has gone. Berger calls out “Claude! Claude!" Claude en- Los Angeles beginning about six months after the Broad-

3.3

5

West End 

way opening and running for an unprecedented two years. The Los Angeles tribe included Rado, Ragni,   Robert Rothman, Ben Vereen (who replaced Ragni), Red Shepard, Ted Neeley (who replaced Rado), Meat Loaf, Gloria Jones, Táta Vega,  Jobriath, Jennifer Warnes, and Dobie Gray.[5] There were soon nine simultaneous productions in U.S. cities, followed by national tours.[5][30] Among the performers in these were Joe Mantegna, André DeShields, and   Alaina Reed   (Chicago),[31] David Lasley,   David Patrick Kelly and  Shaun Murphy   (Detroit),[32] Arnold McCuller (tour),[33] Bob Bingham (Seattle) [34] and Philip Michael Thomas (San Francisco).[35] The creative team from Broadway worked on Hair  in Los Angeles, Chicago and San Francisco, as the Broadway staging served as a rough template for these and other early regional productions. A notable addition to the team in Los Angeles was  Tom Smothers, who served as co-producer.[36] Regional casts consisted mostly of local actors, although a few Broadway cast members reprised their roles in other cities.[37] O'Horgan or the authors sometimes took new ideas and improvisations from a regional show and brought them back to New York, such as when live chickens were tossed onto the stage in Los Angeles. [37] It was rare for so many productions to run simultaneously during an initial Broadway run. Producer Michael Butler, who had declared that  Hair  is “the strongest anti-war statement ever written”, said the reason that he opened so many productions was to influence public opinion against the Vietnam War and end it as soon as possible.[38]

London programme

3.3

West End

Hair  opened at the  Shaftesbury Theatre  in London on

September 27, 1968, led by the same creative team as the Broadway production. The opening night was delayed until the abolition of  theatre censorship in England under the Theatres Act 1968 so that the show could include nudity and profanity.[39] As with other early productions, the London show added a sprinkling of local allusions and other minor departures from the Broadway version.[40] The original London tribe included Sonja Kristina, Peter Straker, Paul Nicholas, Melba Moore, Elaine Paige, Paul Korda,   Marsha Hunt,  Floella Benjamin,   Alex Harvey, Oliver Tobias,   Richard O'Brien and  Tim Curry. This was Curry’s first full-time theatrical acting role, where he met future  Rocky Horror Show  collaborator O'Brien.[41] Hair' s engagement in London surpassed the Broadway production, running for 1,997 performances[40] until its closure was forced by the roof of the theatre collapsing in July 1973.[42]

3.4

Early international productions

The job of leading the foreign language productions of Hair  was given to Bertrand Castelli, Butler’s partner and executive producer of the Broadway show.[43] Castelli was a writer/producer who traveled in Paris art circles and rubbed elbowswith Pablo Picasso and Jean Cocteau. Butler described him as a “crazy showman ... the guy with the business suit and beads”.[44] Castelli decided to do the show in the local language of each country at a time when Broadway shows were always done in English.[43] The translations followed the original script closely, and the Broadway stagings were used. Each script contained local references, such as street names and the names or depictions of local politicians and celebrities. Castelli produced companies in France, Germany, Mexico and other countries, sometimes also directing the productions.[43] A German production, directed by Castelli,[43] opened in 1968 in Munich;[45] the tribe included  Donna Summer, Liz Mitchell and Donna Wyant. A successful Parisian production of Hair  opened on June 1, 1969.[46] The original Australian production premiered in Sydney on June 6, 1969, produced by Harry M. Miller and directed by Jim Sharman, who also designed the production. The tribe included Keith Glass and then Reg Livermore as Berger, John Waters as Claude and Sharon Redd as The Magician. Redd was one of six African-Americans brought to Australia to provide a racially integrated tribe.[47][48] The production broke local box-office records and ran for two years, but because of some of the language in the show, the cast album was banned in Queensland and New Zealand. The production transferred to Melbourne in 1971 and then had a national tour. It marked the stage debut of Boston-born Australian vocalist Marcia Hines.[48] In Mexico the production was banned by the government after one night in Acapulco. [49] An 18-year-old   Sônia

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Braga appeared in the 1969 Brazilian production.[50]

4

THEMES 

pler times. Some hippies wore old World War II or Civil War jackets as way of co-opting the symbols of war into their newfound philosophy of nonviolence.[54]

Another notable production was in the former Yugoslavia (Belgrade), the first  Hair  to be produced in a communist country.[51] Directed by local female producer-director Mira Trailović[52] and attended by president   Tito, the Belgrade production was a favorite of authors Rado and Ragni, with Ragni declaring “there’s no middle class prej- 4.1 Race and the tribe udices here”. Local references in the script included barbs aimed at   Mao Zedong   as well as  Albania, Yu- Extending the precedents set by   Show Boat  (1927) and Porgy and Bess  (1935),  Hair  opened the Broadway mugoslavia’s traditional rival.[43] sical to racial integration; fully one-third of the cast was By 1970, Hair   was a huge financial success, and nineteen African American.[55] Except for satirically in skits, the productions had been staged outside of North America. roles for theblack members of thetribe portrayed them as In addition to those named above, these included producequals, breakingaway from the traditional roles for blacks tions in Scandinavia, South America, Italy, Israel, Japan, in entertainment as slaves or servants.[56] An Ebony mag[30] Canada, the Netherlands, Switzerland and Austria. azine article declared that the show was the biggest outlet According to  Billboard , the various productions of the for black actors in the history of the U.S. stage. [55] show were raking in almost $1 million every ten days, and royalties were being collected for 300 different record- Several songs and scenes from the show address racial [54] “Colored Spade”, which introduces the characings of the show’s songs, making it “the most successful issues. score in history as well as the most performed score ever ter Hud, a militant black male, is a long list of racial slurs (“jungle bunny... little black sambo”) topped off with the written for the Broadway stage.”[53] declaration that Hud is the “president of the United States of love”.[57] At the end of his song, he tells the tribe that the “boogie man” will get them, as the tribe pretends to 4 Themes be frightened.[56] “Dead End”, sung by black tribe members, is a list of street signs that symbolize black frusHair explores many of thethemes of the hippie movement tration and alienation. One of the tribe’s protest chants of the 1960s. Theatre writer Scott Miller described these is “What do we think is really great? To bomb, lynch as follows: and segregate!"[56] “Black Boys/White Boys” is an exuberant acknowledgement of miscegenation;[58] the U.S. [T]he youth of America, especially those Supreme Court had struck down laws against the pracon college campuses, started protesting all the tice in 1967.[59] Another of the tribe’s protest chants is things that they saw wrong with America: “Black, white, yellow, red. Copulate in a king-sized racism, environmental destruction, poverty, bed.”[56] sexism and sexual repression, violence at home “Abie Baby” is part of the Act 2 “trip” sequence: four and the war in Vietnam, depersonalization African witch doctors, who have just killed various from new technologies, and corruption in polAmerican historical, cultural and fictional characters, itics. ... Contrary to popular opinion, the sing the praises of Abraham Lincoln, portrayed by a black hippies had great respect for America and befemale tribe member, whom they decide not to kill. [60] lieved that they were the true patriots, the only The first part of the song contains stereotypical language ones who genuinely wanted to save our counthat black characters used in old movies, like “I’s finished try and make it the best it could be once again. ... pluckin' y'all’s chickens” and “I’s free now thanks to ... [Long] hair was the hippies’ flag – their ... y'all, Master Lincoln”. The Lincoln character then recites symbol not only of rebellion but also of new a modernized version of the Gettysburg Address, while a possibilities, a symbol of the rejection of diswhite female tribe member polishes Lincoln’s shoes with crimination and restrictive gender roles (a phiher blond hair.[56] losophy celebrated in the song “My Conviction”). It symbolized equality between men The many references to Native Americans throughout the and women. ... [T]he hippies’ chosen clothscript are part of the   anti-consumerism, naturalism foing also made statements. Drab work clothes cus of the hippie movement and of Hair . The characters (jeans, work shirts, pea coats) were a rejection in the show are referred to as the “tribe”, borrowing the of materialism. Clothing from other cultures, term for Native American communities.[54] The cast of particularly the Third World and native Amereach production chooses a tribal name: “The practice is icans, represented their awareness of the global not just cosmetic ... the entire cast must work together, community and their rejection of U.S. imperimust like each other, and often within the show, must alism and selfishness. Simple cotton dresses work as a single organism. All the sense of family, of beand other natural fabrics were a rejection of longing, of responsibility and loyalty inherent in the word synthetics, a return to natural things and sim“tribe” has to be felt by the cast.” [54] To enhance this feel-

4.4

ing, O'Horgan put the cast through sensitivity exercises based on trust, touching, listening and intensive examination that broke down barriers between the cast and crew and encouraged bonding. These exercises were based on techniques developed at the  Esalen Institute and Polish Lab Theater.[24] The idea of Claude, Berger and Sheila living together is another facet of the 1960s concept of tribe.[61]

4.2

Nudity, sexual freedom and drug use

The brief nude scene at the end of Act I was a subject of controversy and notoriety.[1][62] Miller writes that “nudity was a big part of the hippie culture, both as a rejection of the sexual repression of their parents and also as a statement about naturalism, spirituality, honesty, openness, and freedom. The naked body was beautiful, something to be celebrated and appreciated, not scorned and hidden. They saw their bodies and their sexuality as gifts, not as 'dirty' things.”[54] Hair  glorifies sexual freedom in a variety of ways. In ad-

dition to acceptance of miscegenation, mentioned above, the characters’ lifestyle acts as a sexually and politically charged updating of La bohème; as Rado explained, “The love element of the peace movement was palpable.”[4] In the song “Sodomy”, Woof exhorts everyone to “join the holy orgy Kama Sutra".[63] Toward the end of Act 2, the tribe members reveal their free love tendencies when they banter back and forth about who will sleep with whom that night.[64] Woof has a crush on Mick Jagger, and a three-way embrace between Claude, Berger and Sheila turns into a Claude–Berger kiss.[56] Various illegal drugs are taken by the characters during the course of the show, most notably a hallucinogen during the trip sequence. [54] The song “Walking in Space” begins the sequence, and the lyrics celebrate the experience declaring “how dare they try to end this beauty ... in this dive we rediscover sensation ... our eyes are open, wide, wide, wide”. Similarly, in the song “Donna”, Berger sings that “I'm evolving through the drugs that you put down.”[65] At another point, Jeanie smokes marijuana and dismisses the critics of “pot”. [56] Generally, the tribe favors hallucinogenic or “mind expanding” drugs, such as LSD and marijuana,[66] while disapproving of other drugs such as speed and depressants. For example, Jeanie, after revealing that she is pregnant by a "speed freak”, says that "methedrine is a bad scene”.[56] The song “Hashish” provides a list of pharmaceuticals, both illegal and legal, including cocaine, alcohol, LSD, opium and  Thorazine, which is used as an antipsychotic.[66]

4.3

7

Religion and astrology

Pacifism and environmentalism

The theme of opposition to the war that pervades the show is unified by the plot thread that progresses through the book – Claude’s   moral dilemma  over whether to

burn his draft card.[54] Pacifism   is explored throughout the extended trip sequence in Act 2. The lyrics to "Three-Five-Zero-Zero", which is sung during that sequence, evoke the horrors of war (“ripped open by metal explosion”).[67] The song is based on Allen Ginsberg's 1966 poem, "Wichita Vortex Sutra". In the poem, General Maxwell Taylor proudly reports to the press the number of enemy soldiers killed in one month, repeating it digit by digit, for effect: “Three-Five-Zero-Zero.” The song begins with images of death and dying and turns into a manic dance number, echoing Maxwell’s glee at reporting the enemy casualties, as the tribe chants “Take weapons up and begin to kill”.[54] The song also includes the repeated phrase “Prisoners in niggertown/ It’s a dirty little war”.[56] “Don't Put It Down” satirizes the unexamined patriotism of people who are literally “crazy” for the American flag.[68] “Be In (Hare Krishna)" praises the peace movement and events like the San Francisco and Central Park Be-Ins.[69] Throughout the show, the tribe chants popular protest slogans like “What do we want? Peace! – When do we want it? Now!" and “Do not enter the induction center”. [56] The upbeat song, “Let the Sun Shine In”, is a call to action, to reject the darkness of war and change the world for the better.[54] Hair  also aims its satire at the pollution caused by our

civilization.[54] Jeanie appears from a trap door in the stage wearing a gas mask and then sings the song “Air": “Welcome, sulfur dioxide. Hello carbon monoxide. The air ... is everywhere”.[70] She suggests that pollution will eventually kill her, “vapor and fume at the stone of my tomb, breathing like a sullen perfume”.[56] In a comic, pro-green vein, when Woof introduces himself, he explains that he “grows things” like “beets, and corn ... and sweet peas” and that he “loves the flowers and the fuzz and the trees”.[56]

4.4

Religion and astrology

Religion, particularly Catholicism, appears both overtly and symbolically throughout the piece, and it is often made the brunt of a joke.[54] Berger sings of looking for “my Donna”, giving it the double meaning of the woman he’s searching for and the Madonna.[71] During “Sodomy”, a hymn-like paean to all that is “dirty” about sex, the cast strikes evocative religious positions: the Pietà and Christ on the cross.[71] Before the song, Woof recites a modified rosary. In Act II, when Berger gives imaginary pills to various famous figures, he offers “a pill for the Pope".[56] In “Going Down”, after being kicked out of school, Berger compares himself to Lucifer: “Just like the angel that fell / Banished forever to hell / Today have I been expelled / From high school heaven.” [72] Claude becomes a classic Christ figure at various points in the script.[73] In Act I, Claude enters, saying, “I am the Son of God. I shall vanish and be forgotten,” then gives benediction to the tribe and the audience. Claude suffers

8

5

DRAMATICS 

from indecision, and, in his Gethsemane at the end of Act I, he asks “Where Do I Go?". There are textual allusions to Claude being on a cross, and, in the end, he is chosen to give his life for the others.[73] Berger has been seen as a John the Baptist figure, preparing the way for Claude. [54]

gle to find their place in a world marred by war, violence, and venal politics. They see both the luminous possibilities and the harshest realities of being human. In the end, unable to effectively combat the evil around them, they tragically succumb.”[84]

Songs like “Good Morning, Starshine” and"Aquarius"reflect the 1960s cultural interest in astrological and cosmic concepts.[74] “Aquarius” was the result of Rado’s research into   his own astrological sign.[75] The company’s astrologer, Maria Crummere, was consulted about casting: [76] Sheila was usually played by a   Libra or Capricorn and Berger by a Leo,[75] although Ragni, the original Berger, was a   Virgo.[77] Crummere was also consulted when deciding when the show would open on Broadway and in other cities.[49] The 1971 Broadway Playbill  reported that she chose April 29, 1968 for the Broadway premiere. “The 29th was auspicious ... because the moon was high, indicating that people would attend in masses. The position of the 'history makers’ (Pluto, Uranus, Jupiter) in the 10th house made the show unique, powerful and a money-maker. And the fact that Neptune was on the ascendancy foretold that  Hair  would develop a reputation involving sex.” [78]

Other literary references include the song “Three-FiveZero-Zero”, based on Ginsberg’s poem “Wichita Vortex Sutra”,[85] and, in the psychedelic drug trip sequence, the portrayal of Scarlett O'Hara, from  Gone with the Wind , and activist African-American poet LeRoi Jones.[56]

In Mexico, where Crummere did not pick the opening date, the show was closed down by the government after one night.[49] She was not pleased with the date of the Boston opening (where the producers were sued over the show’s content)[79][80] saying, “Jupiter will be in opposition to naughty Saturn, and the show opens the very day of the sun’s eclipse. Terrible.” But there was no astrologically safe time in the near future. [81]

5

Dramatics

In his introduction to the published script of  Viet Rock , Richard Schechner says, “performance, action, and event are the key terms of our theatre – and these terms are not literary.”[86] In the 1950s, Off-off Broadway theaters began experimenting with non-traditional theater roles, blurring the lines between playwright, director, and actor. The playwright’s job was not just to put words on a page, but to create a theatrical experience based on a central idea. By 1967, theaters such as  The Living Theatre, La MaMa E.T.C. and  The Open Theatre were actively devising plays from improvisational scenes crafted in the rehearsal space, rather than following a traditional script.[87]

5.1

Viet Rock  and  Hair 

Megan Terry’s Viet Rock  was created using this improvisational process.[87] Scenes in  Viet Rock   were connected 4.5 Literary themes and symbolism in “prelogical ways": a scene could be built from a tangent from the scene before, it could be connected psychoHair   makes many references to Shakespeare’s plays, es- logically, or it could be in counterpoint to the previous pecially Romeo and Juliet and Hamlet , and, at times, takes scene.[87] Actors were asked to switch roles in the midlyrical material directly from Shakespeare. [54] For exam- dle of a show, and frequently in mid-scene. In her stage ple, the lyrics to the song “What a Piece of Work Is Man” directions for a Senate hearing scene in  Viet Rock , Terry are from Hamlet  (II: scene 2) and portions of “Flesh Fail- wrote, “The actors should take turns being senators and ures” (“the rest is silence”) are from Hamlet’s final lines. witnesses; the transformations should be abrupt and total. In “Flesh Failures/Let TheSun Shine In”, thelyrics “Eyes, When the actor is finished with one character he becomes look your last!/ Arms, take your last embrace! And lips, another, or just an actor.”[87] O you/ The doors of breath, seal with a righteous kiss” are Hair    was designed in much the same way. Tom from Romeo and Juliet  (V: iii, 111–14).[82] According to O'Horgan, the show’s Broadway director, was intimately Miller, the  Romeo  suicide imagery makes the point that, involved in the experimental theatre movement. [54] In the with our complicity in war, we are killing ourselves. [54] transition to Broadway, O'Horgan and the writers rearSymbolically, the running plot of Claude’s indecision, es- ranged scenes to increase the experimental aspects of the pecially his resistance to burning his draft card, which show.[87] Hair   asks its actors to assume several different ultimately causes his demise, has been seen as a parallel characters throughout the course of the piece, and, as in to  Hamlet : “the melancholy hippie”.[83] The symbolism Claude’s psychedelic trip in Act 2, sometimes during the is carried into the last scene, where Claude appears as a same scene. Both Hair  and Viet Rock  include rock music, ghostly spirit among his friends wearing an army uniform borrowed heavily from mass media, and frequently break in an ironic echo of an earlier scene, where he says, “I down the invisible "fourth wall" to interact with the auknow what I want to be ... invisible”. According to Public dience. For example, in the opening number, the tribe Theater Artistic Director Oskar Eustis, “Both [Hair  and mingles with audience members, and at the end of the Hamlet ] center on idealistic brilliant men as they strug- show, the audience is invited on stage.[87]

9

5.2

Production design

5.3

Nude scene

that part of acting is being private in public. So I did it.”[94] According to Melba Moore, “It doesn't mean anyIn the original Broadway production, the stage was com- thing except what you want it to mean. We put so much pletely open, with no curtain and the fly area and grid ex- value on clothing. .... It’s like so much else people get posed to the audience. The proscenium arch was out- uptight about.”[95] Donna Summer, who was in the Gerlined with climb-ready scaffolding. Wagner’s spare set man production, said that “it was not meant to be sexual. was painted in shades of grey with street graffiti stenciled ... We stood naked to comment on the fact that society on the stage. The stage was raked, and a tower of abstract makes more of nudity than killing.”[7] Rado said that “bescaffolding upstage at the rear merged a Native Amer- ing naked in front of an audience, you're baring your soul. ican totem pole and a modern sculpture of a  crucifix- Not only the soul but the whole body was being exposed. shaped tree. This scaffolding was decorated with found It was very apt, very honest and almost necessary.” [7] objects that the cast had gathered from the streets of New York. These included a life-size papier-mâché bus driver, the head of Jesus, and a neon marquee of the Waverly 6 Music [88] movie theater in Greenwich Village. Potts’ costumes were based on hippie street clothes, made more theatrical with enhanced color and texture. Some of these included mixed parts of military uniforms, bell bottom jeans with Ukrainian embroidery, tie dyed T-shirts and a red white and blue fringed coat.[88] Early productions were primarily reproductions of this basic design.

“Much has been written about that scene ... most of it silly,” wrote Gene Lees in High Fidelity.[89] Thescene was inspired by two men who took off their clothes to antagonize the police during an informal anti-war gathering.[7] During “Where Do I Go?", the stage was covered in a giant scrim, beneath which those choosing to participate in the scene removed their clothes. At the musical cue, “they [stood] naked and motionless, their bodies bathed in Fisher’s light projection of floral patterns. They chant[ed] of 'beads, flowers, freedom, and happiness.'"[90] It lasted only twenty seconds.[91] Indeed, the scene happened so quickly and was so dimly lit that it prompted Jack Benny, during the interval at a London preview, to quip, “Did you happen to notice if any of them were Jewish?"[92] Nevertheless, the scene prompted threats of censorship and even violent reactions in some places. [8] It also became fodder for pop-cultural jokes. Groucho Marx quipped, “I was gonna go see it, and then I called up the theater. ... They said the tickets were $11 apiece. I told them I'd call back, went into my bathroom, took off all my clothes, and looked at myself in the full-length mirror. Then I called the theater and said, 'Forget it.'" [93]

In these two measures of “What a Piece of Work Is Man”, the red  notes indicate a weak syllable on a strong beat.

After studying the music of the Bantu at Cape Town University,[54] MacDermot incorporated African rhythms into the score of Hair .[9] He listened to “what [the Bantu] called quaylas... [which have a] very characteristic beat, very similar to rock. Much deeper though.... Hair  is very African – a lot of [the] rhythms, not the tunes so much.”[9] Quaylas  stress beats on unexpected syllables, and this influence can be heard in songs like “What a Piece of Work Is Man” and “Ain't Got No Grass”.[96] MacDermot said, “My idea was to make a total funk show. They said they wanted rock & roll – but to me that translated to 'funk.'"[97] That funk is evident throughout the score, notably in songs like “Colored Spade” and “Walking in Space”.[97]

MacDermot has claimed that the songs “can't all be the same. You've got to get different styles.... I like to think they're all a little different.” [4] As such, the music in  Hair  runs the gamut of rock: from the rockabilly   sensibiliThe nudity was optional for the performers. The ties of “Don't Put it Down” to the folk rock rhythms of French cast was “the nudest” of the foreign groups, “Frank Mills” and “What a Piece of Work is Man”. "Easy while the London cast “found the nudity the hardest to to Be Hard" is pure rhythm and blues, and protest rock achieve.”[52] The Swedish cast was reluctant to disrobe, anthems abound: “Ain't Got No” and “The Flesh Failbut in Copenhagen, the tribe thought the nudity too tame ures”. The acid rock of “Walking in Space” and “Aquarand decided to walk naked up and down the aisle during ius” are balanced by the mainstream pop of “Good Mornthe show’s prelude.[43] In some early performances, the ing Starshine”.[98] Scott Miller ties the music of  Hair  to Germans played their scene behind a big sheet labeled the hippies’ political themes: “The hippies... were de“CENSORED”.[43][52] Original Broadway cast member termined to create art of the people and their chosen Natalie Mosco said, “I was dead set against thenude scene art form, rock/folk music was by its definition, populist. at first, but I remembered my acting teacher having said ...[T]he hippies’ music was often very angry, its anger

10

6

MUSIC 

directed at those who would prostitute the Constitution, Great God of Power”,[106] two songs that were cut from who would sell America out, who would betray what the original production. America stood for; in other words, directed at their parents and the government.”[54] Theatre historian John Kenrick explains the application of rock music to the medium 6.2 Recordings of the stage: The  first recording of   Hair   was made in 1967 featuring the off-Broadway cast. The original Broadway cast The same hard rock sound that had conrecording   received a Grammy Award in 1968 for  Best quered the world of popular music made its Score from an Original Cast Show Album[30] and sold way to the musical stage with two simultanenearly 3 million copies in the U.S. by December 1969.[49] ous hits –  Your Own Thing  [and] Hair .... This The New York Times  noted in 2007 that “The cast album explosion of revolutionary proclamations, proof Hair  was... a must-have for the middle classes. Its exfanity and hard rock shook the musical theatre otic orange-and-green cover art imprinted itself instantly to its roots.... Most people in the theatre busiand indelibly on the psyche.... [It] became a pop-rock ness were unwilling to look on   Hair   as anyclassic that, like all good pop, has an appeal that tranthing more than a noisy accident. Tony votscends particular tastes for genre or period.”[16] The 1993 ers tried to ignore  Hair’s  importance, shutting London revival cast album contains new music that has it out from any honors. However, some now inbeen incorporated into the standard rental version.[54] sisted it was time for a change.   New York Times  RCA also released  DisinHAIRited   (RCA LSO-1163): an critic Clive Barnes gushed that Hair was “the album of songs that had been written for the show, but first Broadway musical in some time to have saw varying amounts of stage time. Some of the songs the authentic voice of today rather than the day [99] were cut between the Public and Broadway, some had before yesterday.” been left off the original cast album due to space, and a few were never performed onstage.[104] Themusic didnot resonate with everyone. Leonard Bernstein remarked “the songs are just laundry lists” [100] and Songs from   Hair    have been recorded by numerous [107] including   Shirley Bassey,   Barbra Streisand walked out of the production.[101] Richard Rodgers could artists, [108] “Good Morning Starshine” was only hear the beat and called it “one-third music”. [100] and   Diana Ross. John Fogerty   said, "Hair   is such a watered down ver- sung on a 1969 episode of   Sesame Street   by cast mem[109] and versions by artists such as sion of what is really going on that I can’t get behind it ber  Bob McGrath, [102] Sarah Brightman,  Petula Clark, and Strawberry Alarm at all.” Gene Lees, writing for High Fidelity , claimed [110] Artists as varied as Liza that John Lennon found it “dull”, and he wrote, “I do not Clock have been recorded. Minnelli and   The Lemonheads   have recorded “Frank know any musician who thinks it’s good.”[89] Mills”,[111] and Andrea McArdle,  Jennifer Warnes, and Sérgio Mendes have each contributed versions of “Easy to Be Hard”.[112] Hair  also helped launch recording careers 6.1 Songs for performers Meat Loaf, Dobie Gray, Jennifer Warnes, Jobriath, Bert Sommer, Ronnie Dyson, Donna Summer The score had many more songs than were typical of and Melba Moore, among others.[53] Broadway shows of the day.[5] Most Broadway shows had about six to ten songs per act;  Hair' s total is in the The score of  Hair  saw chart successes, as well.  The 5th thirties. [103] This list reflects the most common Broadway Dimension   released "Aquarius/Let the Sunshine In" in lineup.[104] 1969, which won  Record of the Year in 1970[113] and topped the charts for six weeks. The Cowsills' recording The show was under almost perpetual re-write. Thirteen of the title song “Hair” climbed to #2 on the   Billboard  songs were added between the production at the Public Hot 100.[114] while Oliver's rendition of “Good Morning Theater and Broadway, including “I Believe in Love”.[104] Starshine” reached #3.[115] Three Dog Night's version of “The Climax” and “Dead End” were cut between the pro“Easy to Be Hard” went to #4.[116] Nina Simone's 1968 ductions, and “Exanaplanetooch” and “You Are Standmedley of “Ain't Got No / I Got Life” reached the top ing on My Bed” were present in previews but cut before 5 on the British charts. [117] In 1970, ASCAP announced Broadway. The Shakespearean speech "What a piece of that “Aquarius” was played more frequently on U.S. radio work is a man" was originally spoken by Claude and muand television than any other song that year. [118] sicalized by MacDermot for Broadway, and “Hashish” was formed from an early speech of Berger’s.[104] Sub- Productions in England, Germany, France, Sweden, sequent productions have included “Hello There”, “Dead Japan, Israel, Holland, Australia and elsewhere released End”,[104] and “Hippie Life” – a song originally written cast albums,[119] and over 1,000 vocal and/or instrumenfor the film that Rado included in several productions in tal performances of individual songs from Hair  have been Europe in the mid-nineties.[105] The current Broadway re- recorded.[30] Such broad attention was paid to the recordvival includes the ten-second “Sheila Franklin” and “O ings of  Hair   that, after an unprecedented bidding war,

7.1

ABC Records  was willing to pay a record amount for MacDermot’s next Broadway adaptation  Two Gentlemen of Verona.[120] The 2009 revival recording, released on June 23, debuted at #1 on  Billboard' s “Top Cast Album” chart and at #63 in the Top 200, qualifying it as the highest debuting album in Ghostlight Records history.[121]

7

11

Awards and nominations 

Critical reception

Reception to  Hair  upon its Broadway premiere was, with exceptions, overwhelmingly positive. Clive Barnes wrote in the New York Times : “What is so likable about Hair ...? I think it is simply that it is so likable. So new, so fresh, and so unassuming, even in its pretensions.”[64] John J. O'Connor of  The Wall Street Journal  said the show was “exuberantly defiant and the production explodes into every nook and cranny of the Biltmore Theater”.[122] Richard Watts Jr. of the  New York Post  wrote that “it has a surprising if perhaps unintentional charm, its high spirits are contagious, and its young zestfulness makes it difficult to resist.” [123]

noisy, ugly and quite desperately funny.” [131] Acknowledging the show’s critics, Scott Miller wrote in 2001 that “some people can't see past the appearance of chaos and randomness to the brilliant construction and sophisticated imagery underneath.”[54] Miller notes, “Not only did many of the lyrics not rhyme, but many of the songs didn't really have endings, just a slowing down and stopping, so the audience didn't know when to applaud.... The show rejected every convention of Broadway, of traditional theatre in general, and of the American musical in specific. And it was brilliant.”[54]

7.1

8

Awards and nominations

Social change

Hair  challenged many of the norms held by Western so-

ciety in 1968. The name itself, inspired by the name of a Jim Dine painting depicting a comb and a few strands of hair,[5][132] was a reaction to the restrictions of civilization and consumerism and a preference for naturalism.[133] Rado remembers that long hair “was a visible form of Television reviews were even more enthusiastic. Al- awareness in the consciousness expansion. The longer the lan Jeffreys of ABC said the actors were “the most tal- hair got, the more expansive the mind was. Long hair was ented hippies you'll ever see... directed in a wonderfully shocking, and it was a revolutionary act to grow long hair. wild fashion by Tom O'Horgan.”[124] Leonard Probst of It was kind of a flag, really.”[132] NBC said "Hair   is the only new concept in musicals on Broadway in years and it’s more fun than any other this The musical caused controversy when it was first staged. show had season”.[125] John Wingate of WOR TV praised MacDer- The Act I finale was the first time a Broadway [1] mot’s “dynamic score” that “blasts and soars”,[126] and seen totally naked actors and actresses, and the show of the American flag Len Harris of CBS  said “I've finally found the best mu- was charged with the desecration [8][134] These controversical of the Broadway season... it’s that sloppy, vulgar, and the use of obscene language. sies, in addition to the anti–Vietnam War theme, attracted terrific tribal love rock musical  Hair .”[127] occasional threats and acts of violence during the show’s A reviewer from  Variety, on the other hand, called the early years and became the basis for legal actions both show “loony” and “without a story, form, music, danc- when the show opened in other cities and on tour. Two ing, beauty or artistry.... It’s impossible to tell whether cases eventually reached the U.S. Supreme Court. [the cast has] talent. Maybe talent is irrelevant in this new kind of show business.”[128] Reviews in the news weeklies were mixed; Jack Kroll in   Newsweek   wrote, 8.1 Legal challenges and violent reactions “There is no denying the sheer kinetic drive of this new Hair ... there is something hard, grabby, slightly corrupt The touring company of   Hair    met with resistance about O'Horgan’s virtuosity, like  Busby Berkeley   gone throughout the United States. In  South Bend,   Indiana, bitchy.”[129] But a reviewer from Time wrote thatalthough the Morris Civic Auditorium refused booking,[135] and the show “thrums with vitality [it is] crippled by being a in Evansville, Indiana, the production was picketed by bookless musical and, like a boneless fish, it drifts when several church groups.[136] In Indianapolis, Indiana, the it should swim.”[130] producers had difficulty securing a theater, and city authorities suggested that the cast wear body stockings as a Reviews were mixed when  Hair   opened in London. Irvcompromise to the city’s ordinance prohibiting publicly ing Wardle in   The Times   wrote, “Its honesty and pasdisplayed nudity.[135] Productions were frequently consion give it the quality of a true theatrical celebration – fronted with the closure of theaters by the fire marshal, the joyous sound of a group of people telling the world as in Gladewater, Texas.[137] Chattanooga's 1972 refusal exactly what they feel.” In  The Financial Times , B. A. to allow the play to be shown at the city-owned  Memorial Young agreed that  Hair   was “not only a wildly enjoyable Auditorium[138][139] was later found by the U.S. Supreme evening, but a thoroughly moral one.” However, in his fiCourt to be an unlawful prior restraint.[140] nal review before retiring after 48 years, 78-year-old W. A. Darlington of  The Daily Telegraph  wrote that he had The legal challenges against the Boston production were “tried hard”, but found the evening “a complete bore – appealed to the U.S. Supreme Court. The Chief of

12

the Licensing Bureau took exception to the portrayal of the American flag in the piece, [141] saying, “anyone who desecrates the flag should be whipped on  Boston Common.”[79] Although the scene was removed before opening, the District Attorney's office began plans to stop the show, claiming that “lewd and lascivious” actions were taking place onstage. The  Hair   legal team obtained an injunction against criminal prosecution from the Superior Court,[142] and the D.A. appealed to the   Massachusetts Supreme Judicial Court. At the request of both parties, several of the justices viewed the production and handed down a ruling that “each member of the cast [must] be clothed to a reasonable extent.” The cast defiantly played the scene nude later that night, stating that the ruling was vague as to when it would take effect. [79] The next day, April 10, 1970, the production closed, and movie houses, fearing the ruling on nudity, began excising scenes from films in their exhibition. After the Federal  appellate bench reversed the Massachusetts court’s ruling, the D.A. appealed the case to the U.S. Supreme Court. In a 4–4 decision, the Court upheld the lower court’s decision, allowing Hair   to re-open on May 22.[80] In April 1971, a bomb was thrown at the exterior of a theater in Cleveland, Ohio that had been housing a production, bouncing off the marquee and shattering windows in the building and in nearby storefronts.[143] That same month, the families of cast member Jonathon Johnson and stage manager Rusty Carlson died in a fire in the Cleveland hotel where 33 members of the show’s troupe had been staying.[144][145] The Sydney, Australia production’s opening night was interrupted by a bomb scare in June 1969.[146]

9

BEYOND THE 1960S 

they were forced to go into hiding.[149] They were expelled from Mexico days later.[150][151] Hair  effectively marked the end of stage  censorship in

the United Kingdom.[131] London’s stage censor, the Lord Chamberlain, originally refused to license the musical, and the opening was delayed until Parliament passed a bill stripping him of his licensing power. [131] In Munich, authorities threatened to close the production if the nude scene remained; however, after a local  Hair  spokesman declared that his relatives had been marched nude into Auschwitz, the authorities relented.[43] In Bergen, Norway, local citizens formed a human barricade to try to prevent the performance.[43] The Parisian production encountered little controversy, and the cast disrobed for the nude scene “almost religiously” according to Castelli, nudity being common on stage in Paris.[152] Even in Paris there was nevertheless occasional opposition, however, such as when a member of the local Salvation Army used a portable loud speaker to exhort the audience to halt the presentation. [43][153]

9 9.1

Beyond the 1960s 1970s

See also: Hair (film)

A Broadway revival of  Hair   opened in 1977 for a run of 43 performances. It was produced by Butler, directed by O'Horgan and performed in the Biltmore Theater, where the original Broadway production had played. The cast 8.2 Worldwide reactions included Ellen Foley, Annie Golden,  Cleavant Derricks and Kristen Vigard.[154] Newcomer  Peter Gallagher left Local reactions to the controversial material varied the ensemble during previews to take the role of Danny greatly. San Francisco’s large hippie population considZuko ina tourof Grease.[155] Reviews were generally negered the show an extension of the street activities there, ative, and critics accused the production of “showing its often blurring the barrier between art and life by medigray”.[156] Few major revivals of  Hair  followed until the tating with the cast and frequently finding themselves onearly 1990s. stage during the show.[37] An 18-year-old Princess Anne was seen dancing onstage in London,[147] and in Wash- A movie version of  Hair , with a screenplay by Michael ington DC,   Henry Kissinger attended. In St. Paul, Weller, was directed by Miloš Forman  and released in Minnesota, a protesting clergyman released 18 white 1979. Filmed primarily in New York City’s  Central mice into the lobby hoping to frighten the audience. [37] Park and Washington Square Park,[157] the cast includes Capt. Jim Lovell and Jack Swigert, after dubbing Apollo Treat Williams,   Beverly D'Angelo,  John Savage, Foley 13's lunar module “Aquarius” after the song, walked out and Golden.[158] Several of the songs were deleted, and of the production at the Biltmore in protest of perceived the film’s storyline departs significantly from the musianti-Americanism and disrespect of the flag.[148] cal. The character of Claude is rewritten as an innocent draftee from  Oklahoma, newly arrived in New York to An Acapulco, Mexico production of  Hair , directed by join the military, and Sheila is a high-society debutante Castelli, [43] played in 1969 for one night. After the perwho catches his eye. In perhaps the greatest diversion formance, the theater, located across the street from a from the stage version, a mistake leads Berger to go to popular local bordello, was padlocked by the government, Vietnam in Claude’s place, where he is killed. [159] which said the production was “detrimental to the morals of youth.”[78] The cast was arrested soon after the per- Rado and Ragni were unhappy with the film, feeling that formance and taken to Immigration, where they agreed Forman portrayed the hippies as “oddballs” and “some to leave the country, but because of legal complications sort of aberration” without any connection to the peace

9.2

13

1980s and 1990s 

inventions make this   Hair   seem much funnier than I remember the show’s having been. They also provide time and space for the development of characters who, on the stage, had to express themselves almost entirely in song.... [T]he entire cast is superb.... Mostly... the film is a delight.”[162]

9.2

1980s and 1990s

A 20th anniversary concert event was held in May 1988 at the United Nations General Assembly to benefit children with AIDS.[163] The event was sponsored by First Lady Nancy Reagan   with Barbara Walters  giving the night’s opening introduction.[164] Rado, Ragni and MacDermot reunited to write nine new songs for the concert. The cast of 163 actors included former stars from various productions around the globe: Melba Moore, Ben Vereen, Treat Williams and Donna Summer, as well as guest performers Bea Arthur, Frank Stallone and  Dr. Ruth Westheimer. Ticket prices ranged from $250 to $5,000 and the proceeds went to the United States Committee for UNICEF and the Creo Society’s Fund for Children with AIDS.[164] A 1985 production of   Hair    mounted in Montreal was reportedly the 70th professional production of the musical.[30] In November 1988, Michael Butler produced Hair   at Chicago’s  Vic Theater   to celebrate the shows’ 20th anniversary. The production was well received and ran until February 1989.[164] From 1990 to 1991, Pink Lace Productions ran a U.S. national tour of  Hair   that included stops in   South Carolina,   Georgia,   Tennessee and Kentucky.[164] After Ragni died in 1991, MacDermot and Rado continued to write new songs for revivals through the 1990s.  Hair Sarajevo, AD 1992  was staged during the Siege of Sarajevo as an appeal for peace. [30] Rado directed a $1 million, 11 city national tour in 1994 that featured actor Luther Creek. With MacDermot returning to oversee the music, Rado’s tour celebrated the show’s 25th anniversary.[165] A small 1990 “bus and truck” production of   Hair   toured Europe for over 3 years,[165] and Rado directed various European productions from 1995 to 1999.[105] A production opened in Australia in 1992[166] and a shortlived London revival starring John Barrowman and Paul Hipp opened at the Old Vic in London in 1993, directed 1979 movie poster. by Michael Bogdanov.[167][168] While the London production was faithful to the original, a member of the production staff said the reason it “flopped” was because the tribe consisted of "Thatcher’s children who didn't really movement, failing to capture the essence of the original get it”.[169] Other productions were mounted around the [160] stage production. They stated: “Any resemblance beworld, including South Africa, where the show had been tween the 1979 film and the original Biltmore version, banned until the eradication of Apartheid.[170] In 1996, other than  some  of the songs, the names of the characButler brought a month-long production to Chicago, emters, and a common title, eludes us.” [160] In their view, ploying the Pacific Musical Theater, a professional troupe the screen version of Hair  has not yet been produced.[160] in residence at   California State University, Fullerton. However, the film received generally favorable Butler ran the show concurrently with the  1996 Demoreviews.[161] Writing in   The New York Times ,   Vincent cratic National Convention, echoing the last time the Canby called it “a rollicking musical memoir.... Weller’s DNC was in Chicago: 1968.[171] A 30th Anniversary Off-

14

9

Off Broadway production was staged at Third Eye Repertory. It was directed by Shawn Rozsa. [172]

9.3

2000s and 2010s

BEYOND THE 1960S 

the original Broadway production joined the cast on stage during the encore of “Let the Sun Shine In.” Demand for the show was overwhelming, as long lines and overnight waits for tickets far exceeded that for other Delacorte productions such as  Mother Courage and Her Children  starring Meryl Streep and Kevin Kline.[185]

In 2001, the Reprise! theatre company in Los Angeles performed   Hair  at the Wadsworth Theatre, starring Steven Weber as Berger, Sam Harris as Claude and Jennifer Leigh Warren as Sheila.[173] That same year, Encores!   Great American Musicals in Concert  ended its 2001 City Center season with a production of  Hair   starring Luther Creek, Idina Menzel and  Tom Plotkin, and featuring Hair  composer Galt MacDermot on stage playing the keyboards.[174] An Actors’ Fund benefit of the show was performed for one night at the New Amsterdam Theater in New York City in 2004. The Tribe included Shoshana Bean, Raul Esparza, Jim J. Bullock, Liz Callaway, Gavin Creel, Eden Espinosa, Harvey Fierstein, Ana Gasteyer, Annie Golden, Jennifer Hudson, Julia Murney, Jai Rodriguez, RuPaul, Michael McKean, Laura Benanti and Adam Pascal.[175] In 2005, a London production opened at the Gate Theatre, directed by Daniel Kramer. James Rado approved an updating of the musical’s script to place it in the context of the   Iraq War  instead of the Vietnam War.[176] Kramer’s modernized interpretation included “Aquarius” sung over a megaphone in Times Square, and nudity that called to mind images from Abu Ghraib.[177] In March 2006, Rado collaborated with director Robert Prior for a CanStage production of Hair  in Toronto,[178] and a revival produced by Pieter Toerien toured South Africa in 2007. Directed by Paul Warwick Griffin, with choreography by Timothy Le Roux, the show ran at the Montecasino Theatre in Johannesburg and at Theatre on the Bay in Cape Town.[179] A two-week run played at the Teatro Tapia in Old San Juan, Puerto Rico, in March 2010, directed by Yinoelle Colón.[180]

2009 Broadway revival poster 

Nine months later, The Public Theater presented a fully staged production of Hair at the Delacorte in a limited run from July 22, 2008 to September 14, 2008.[186] Paulus Michael Butler produced Hair  at the MET Theatre in Los again directed, with choreography by Karole Armitage. Berger, toAngeles from September 14 through December 30, 2007. Groff and Swenson returned as Claude and [187] Caren Lyn The show was directed and choreographed by Bo Crow- gether with others from the concert cast. J. Hanke reell, with musical direction from Christian Nesmith (son Manuel   played Sheila, and   Christopher [188] Reviews were of Michael Nesmith).[181][182] Butler’s production of Hair  placed Groff as Claude on August 17. generally positive, with  Ben Brantley of  The New York  won the LA Weekly Theater Award for Musical of the Times   writing that “this production establishes the show Year.[183] as more than a vivacious period piece.  Hair,  it seems, has It was a show about now when we did it. Now it’s a show deeper roots than anyone remembered”.[189] Time magaabout then – but it’s still about now. zine wrote: "Hair ... has been reinvigorated and reclaimed as one of the great milestones in musical-theatre history. James Rado, 2008[132] ... Today   Hair   seems, if anything, more daring than ever.”[3] For three nights in September 2007,  Joe’s Pub and the Public Theater   presented a 40th anniversary production of   Hair   at the  Delacorte Theater  in Central Park. 9.3.1 2009 Broadway revival and 2010 U.S. National This concert version, directed by Diane Paulus, featured Tour Jonathan Groff as Claude and Galt MacDermot on stage on the keyboards. The cast also included Karen Olivo The Public Theater production transferred to Broadway as Sheila and Will Swenson as Berger.[184] Actors from at the   Al Hirschfeld Theatre, beginning previews on

9.3

15

2000s and 2010s 

March 6, 2009, with an official opening on March 31, 2009. Paulus and Armitage again directed and choreographed, and most of the cast returned from the production in the park. A pre-performance ticket lottery was held nightly for $25 box-seat tickets.[190] The opening cast included Gavin Creel as Claude, Will Swenson as Berger, Caissie Levy   as Sheila,  Megan Lawrence as Mom and Sasha Allen as Dionne.[191] Designers included Scott Pask (sets), Michael McDonald (costumes) and Kevin Adams (lighting). [192] Critical response was almost uniformly positive.[193] The New York Daily News   headline proclaimed "Hair  Revival’s High Fun”. The review praised the daring direction, “colorfully kinetic” choreography and technical accomplishments of the show, especially the lighting, commening that “as a smile-inducing celebration of life and freedom, [Hair  is] highly communicable"; but warning: “If you're seated on the aisle, count on [the cast] to be in your face or your lap or ... braiding your tresses.”[194] The New York Post wrote that the production “has emerged triumphant.... These days, the nation is fixated less on war and more on the economy. As a result, the scenes that resonate most are the ones in which the kids exultantly reject the rat race.” [195] Variety  enthused, “Director Diane Paulus and her prodigiously talented cast connect with the material in ways that cut right to the 1967 rock musical’s heart, generating tremendous energy that radiates to the rafters. ... What could have been mere nostalgia instead becomes a full-immersion happening. ... If this explosive production doesn't stir something in you, it may be time to check your pulse.”[196] The Boston Globe  dissented, saying that the production “felt canned” and “overblown” and that the revival “feels unbearably naive and unforgivably glib”. [197] Ben Brantley, writing for  The New York Times , reflected the majority, however, delivering a glowing review: Having moved indoors to Broadway from the Delacorte Theater ... the young cast members ... show no signs of becoming domesticated. On the contrary, they’re tearing down the house. ... This emotionally rich revival ... delivers what Broadway otherwise hasn't felt this season: the intense, unadulterated joy and anguish of that bi-polar state called youth. ... Karole Armitage’s happy hippie choreography, with its group gropes and mass writhing, looks as if it’s being invented on the spot. But there’s intelligent form within the seeming formlessness. ... [Paulus finds] depths of character and feeling in [the 1968 show about kids] frightened of how the future is going to change them and of not knowing what comes next. ... Every single ensemble member emerges as an individual. ... After the show I couldn’t stop thinking about what would happen to [the characters]. Mr. MacDermot’s music, which always had more pop than acid, holds up beautifully,

given infectious life by the onstage band and the flavorfully blended voices of the cast.[198] The Public Theater struggled to raise the $5.5 million budgeted for the Broadway transfer, because of the severity of the economic recession in late 2008, but it reached its goal by adding new producing partners. Director Diane Paulus helped keep costs low by using an inexpensive set. The show grossed a healthy $822,889 in its second week.[199][200] On April 30, 2009 on the   Late Show with David Letterman, the cast recreated a performance on the same stage at the Ed Sullivan Theater by the original tribe. [201] The production won the Tony Award for Best Revival of a Musical,[202] the   Drama Desk Award for Outstanding Revival of a Musical[203] and the Drama League Award for Distinguished Revival of a Musical.[204] Its cast album won the Grammy Award for Best Musical Show Album.[205] By August 2009, the revival had recouped its entire $5,760,000 investment, becoming one of the fastest-recouping musicals in Broadway history.[206] When the Broadway cast transferred to London for the 2010 West-End revival, a mostly new tribe took over on Broadway on March 9, 2010, including former American Idol   finalists Ace Young as Berger and Diana DeGarmo as Sheila.  Kyle Riabko assumed the role of Claude, and Annaleigh Ashford played Jeanie.[207] Sales decreased after the original cast transferred to London, and the revival closed on June 27, 2010 after 29 previews and 519 regular performances.[208][209] A U.S. National Tour of the production began on October 21, 2010. Principals included Steel Burkhardt as Berger, Paris Remillard as Claude and  Caren Lyn Tackett as Sheila.[210] The tour received mostly positive reviews.[205] The show returned to Broadway for an engagement at the St. James Theatre  from July 5 through September 10, 2011. After that stop, the tour resumed.[211] The tour ended on January 29, 2012.[212]

9.3.2

2010 West End revival

The 2009 Broadway production was duplicated at the Gielgud Theatre   in London’s West End. Previews began on April 1, 2010 with an official opening on April 14. The producers were the Public Theater, together with Cameron Mackintosh and Broadway Across America. Nearly all of the New York cast relocated to London. A new addition to the London cast was Luther Creek as Woof.[213][214] The London revival closed on September 4, 2010.[215] The production received mostly enthusiastic reviews. Michael Billington of   The Guardian  described it as “a vibrant, joyous piece of living theatre”, writing, “it celebrates a period when the joy of life was pitted against the forces of intolerance and the death-dealing might of the military-industrial complex. As Shakespeare once said:

16

10

'There’s sap in't yet.'"[216] Charles Spencer in  The Daily Telegraph  agreed: “This is a timely and irresistibly vital revival of the greatest of all rock musicals. ... The verve and energy of the company ... is irresistible.”[217] Michael Coveney of  The Independent   wrote that  Hair  is “one of the great musicals of all time, and a phenomenon that, I'm relieved to discover, stands up as a period piece”.[218] In The Times , Benedict Nightingale commented that “it’s exhilarating, as well as oddly poignant, when a multihued cast dressed in everything from billowing kaftans to Ruritanian army jackets race downstage while delivering that tuneful salute to an age of Aquarius that still refuses to dawn.”[219] Quentin Letts was a dissenting voice in the Daily Mail . Though praising the performances and the production, he wrote: “by the end the fraudulence of the gaiety becomes sickening. There is a lack of truthfulness in  Hair  which may not have been apparent when it was first performed in New York City in 1967 but which, today, is unavoidable.”[220]

CULTURAL IMPACT 

Crowell helped produce Hair  in Russia at the Stas Namin Theatre located in Moscow’s Gorky Park. The Moscow production caused a similar reaction as the original did 30 years earlier because Russian soldiers were fighting in Chechnya at the time.[222][223] Rado wrote in 2003 that the only places where the show had not been performed were “China, India, Vietnam, the Arctic and Antarctic continents as well as most African countries.” [170] Since then, an Indian production has been mounted.[224]

10 10.1

Cultural impact Popular culture

The   New York Times   noted, in 2007, that "Hair  was one of the last Broadway musicals to saturate the culture as shows from the golden age once regularly did.”[16] Songs from the show continue to be recorded by major 9.3.3 2014 Hollywood Bowl artists. In the 1990s, Evan Dando's group The LemonIn August 2014, the musical was given a three-night en- heads recorded “Frank Mills” for their 1992 record  It’s  gagement at the  Hollywood Bowl. Directed by  Adam A Shame About Ray , and   Run DMC   sampled “Where Shankman, the all-star cast included   Kristen Bell as Do I Go” for their 1993 single “Down With the King” Sheila,  Hunter Parrish  as Claude,   Benjamin Walker as which went to #1 on the Billboard rap charts and reached [225][226] In Berger,   Amber Riley  as Dionne,  Jenna Ushkowitz as the top 25 in the Billboard Hot 100 chart. Jeanie,   Sarah Hyland   as Crissy,   Mario   as Hud, and 2004, “Aquarius” was honored at number 33 on AFI’s [227] Beverly D'Angelo and   Kevin Chamberlin   as Claude’s 100 Years... 100 Songs. parents. [221]

9.4

International success

Butler (front) and Rado (behind Butler, in black T-shirt and cap) with a 2006   Hair  cast in Red Bank, New Jersey

Members of the original Swedish cast of 1968 still performing Hair  songs together in Stockholm in 2015.

Hair   has been performed in most of the countries of the

world. After the Berlin Wall fell, the show traveled for the first time to Poland, Lebanon, the Czech Republic and Sarajevo (featured on ABC’s  Nightline   with   Ted Koppel, when Phil Alden Robinson visited that city in 1996 and discovered a production of  Hair  there in the midst of the war).[170] In 1999, Michael Butler and director Bo

Songs from the musical have been featured in films and television episodes. For example, in the 2005 movie Charlie and the Chocolate Factory , the character  Willy Wonka   welcomed the children with lyrics from “Good Morning Starshine”.[228] “Aquarius” was performed in the final episode of  Laverne and Shirley  in 1983, where the character Carmine moves to New York City to become an actor, and auditions for Hair .[229] “Aquarius/Let the Sunshine In” was also performed in the final scene in the film  The 40-Year-Old Virgin ,[230] and Three Dog Night’s recording of “Easy to Be Hard” was featured

17

in the first part of David Fincher’s film  Zodiac .[231] On the Simpsons  episode "The Springfield Files", the townspeople,   Leonard Nimoy,   Chewbacca,   Dana Scully and Fox Mulder all sing “Good Morning Starshine.”[232] The episode "Hairography" of the show Glee includes a muchcriticized mash-up of the songs “Hair” and "Crazy in Love" by Beyoncé.[233] In addition, Head of the Class  featured a two-part episode in 1990 where the head of the English department is determined to disrupt the school’s performance of   Hair .[234] The continued popularity of Hair  is seen in its number ten ranking in a 2006 BBC Radio 2 listener poll of the "[United Kingdom]'s Number One Essential Musicals.”[235] Because of the universality of its pacifist theme, Hair  continues to be a popular choice for high-school and university productions.[30] Amateur productions of Hair  are also popular worldwide.[236] In 2002, Peter Jennings featured a Boulder, Colorado, high school production of  Hair  for his ABC documentary series “In Search of America”.[237] A September 2006 community theater production at the 2,000-seat Count Basie Theater in Red Bank, New Jersey, was praised by original producer Michael Butler, who said it was “one of the best  Hair s I have seen in a long time.”[238] Another example of a recent large-scale amateur production is the Mountain Play production at the 4,000-seat Cushing Memorial Amphitheatre in  Mount Tamalpais  State Park in  Mill Valley, California  in the spring of 2007.[239]

10.2

Legacy

Hair  was Broadway’s first  concept musical, a form that

dominated the musical theatre of the seventies, [240] including shows like   Company,   Follies ,  Pacific Overtures  and   A Chorus Line .[240] While the development of the concept musical was an unexpected consequence of Hair' s tenure on Broadway, the expected rock music revolution on Broadway turned out to be less than complete.[240]

turned to  megamusicals with pop scores, like   Les Misérables (1985) and The Phantom of the Opera (1986).[242] Some later rock musicals, such as Rent  (1996) and Spring Awakening  (2006), as well as   jukebox musicals featuring rock music, like  We Will Rock You  (2002) and Rock  of Ages   (2009), have found success. But the rock musical did not quickly come to dominate the musical theatre stage after  Hair . Critic Clive Barnes commented, “There really weren't any rock musicals. No major rock musician ever did a rock score for Broadway. ... You might think of the musical  Tommy, but it was never conceived as a Broadway show. ... And one can see why. There’s so much more money in records and rock concerts. I mean, why bother going through the pain of a musical which may close in Philadelphia?"[241][243] On the other hand,  Hair  had a profound effect not only on what was acceptable on Broadway, but as part of the very social movements that it celebrated. For example, in 1970, Butler, Castelli and the various  Hair  casts contributed to fundraising for the World Youth Assembly, a United Nations-sponsored organization formed in connection with the celebration of the 25th anniversary of the United Nations.[244] The Assembly enabled 750 young representatives from around the world to meet in New York in July 1970 to discuss social issues.[245][246] For about a week, cast members worldwide collected donations at every show for the fund.   Hair   raised around $250,000 and ended up being the principal financier of the Assembly.[247] Tribe members and   Hair   crews also contributed a days’ pay, and Butler contributed a days’ profits from these productions.[244][245] Moreover, as Ellen Stewart, La MaMa’s founder, noted: Hair   came with blue jeans, comfortable clothing, colors, beautiful colors, sounds, movement. ... And you can go to AT&T and see a secretary today, and she’s got on blue jeans. ... You can go anywhere you want, and what Hair  did, it is still doing  twenty years later .... A kind of emancipation, a spiritual emancipation that came from [O'Horgan’s] staging. ...   Hair  until this date has influenced every single thing that you see on Broadway, off-Broadway, off-off-Broadway, anywhere in the world, you will see elements of the experimental techniques that  Hair   brought not just to Broadway, but to the entire world.[248]

MacDermot followed   Hair   with three successive rock scores:  Two Gentlemen of Verona  (1971);  Dude  (1972), a second collaboration with Ragni; and   Via Galactica (1972). While Two Gentlemen of Verona found receptive audiences and a Tony for Best Musical,  Dude  failed after just sixteen performances, and  Via Galactica  flopped after a month.[241] According to Horn, these and other such “failures may have been the result of producers simply relying on the label 'rock musical' to attract audiences without regard to the quality of the material presented.” [241] 11 See also Jesus Christ Superstar  (1970) and  Godspell   (1971) were two religiously themed successes of the genre.   Grease •  List of plays with anti-war themes (1971) reverted to the rock sounds of the 1950s, and black-themed musicals like The Wiz  (1975) were heavily influenced by gospel, R&B and soul music. By the late 1970s, the genre had played itself out. [241] Except 12 References for a few outposts of rock, like  Dreamgirls  (1981) and Little Shop of Horrors (1982), audience tastesin the1980s Notes

18

[1] Horn, pp. 87–88 [2] Pacheco, Patrick (June 17, 2001).  “Peace, Love and Freedom Party”,  Los Angeles Times , p. 1. Retrieved on June 10, 2008 [3]  Zoglin, Richard.   “A New Dawn for  Hair ",  Time  magazine, July 31, 2008 (in the August 11, 2008 issue, pp. 61– 63) [4] Haun, Harry. “Age of Aquarius”,   Playbill , April 2009, from Hair  at the Al Hirschfeld Theatre, p. 7 [5]   Rado, James   (February 14, 2003). “Hairstory – The Story Behind the Story”,  hairthemusical.com. Retrieved on April 11, 2008. [6] "Viet Rock ". Lortel Archives: The Internet Off-Broadway Database. Retrieved on April 11, 2008. [7]  “40 years of 'Hair'". Newark Star-Ledger  (July 19, 2008). Retrieved on July 26, 2008. [8] Taylor, Kate (September 14, 2007). “The Beat Goes On”. The New York Sun . Retrieved on May 27, 2008. [9] Miller, pp. 54–56 [10] Horn, p. 23 [11]  Gary Botting, The Theatre of Protest in America, Edmonton: Harden House, 1972 [12] Horn, pp. 18–19 [13] Horn, p. 27 [14]  “Galt MacDermot Biography”.   musiciansguide.com. Retrieved on April 11, 2008. [15] Whittaker, Herbert (May 1968). " Hair : The Musical That Spells Good-bye Dolly!".   The Canadian Composer . Retrieved on April 18, 2008. [16] Isherwood, Charles (September 16, 2007). “TheAging of Aquarius”.  The New York Times . Retrieved on May 25, 2008. [17] Horn, p. 34 [18] Horn, pp. 32–33 [19]  Zolotow, Sam (January 23, 1968). “Hair Closes Sunday” The New York Times , reproduced at michaelbutler.com. Retrieved on May 23, 2009 [20] Horn, pp. 39–40 [21] Planer, Lindsay. "Hair   [Original 1967 Off-Broadway Cast]". Allmusic.com, accessed February 3, 2011 [22] Horn, p. 29 [23] Junker, Howard (June 3, 1968).  “Director of the Year”. Newsweek , orlok.com. Retrieved on April 11, 2008. [24] Horn, p. 53 [25] Horn, p. 42

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Broadway- [233] Flandez, Raymund. " Glee  Season 1, Episode 11 “Hairography": TV Recap”   The Wall Street Journal , November 26, 2009, accessed December 5, 2012 [212] Hetrick, Adam.  "'Where Do I Go?':   Hair  First National Tour Will Conclude Jan. 29”, Playbill , January 12, 2012 [234] Michael Elias (writer), Rich Eustis (writer), Art Dielhenn (Director) (1990-02-07–1990-02-14).   “From Hair [213] Hetrick, Adam. “Across the Atlantic Sea”. Playbill.com, to Eternity”.   Head of the Class . Season 4. Episode 17, April 1, 2010, Retrieved April 7, 2010 18. ABC. Check date values in: |date= (help) [214] Itzkoff, Dave."Hair   Extends From Broadway to London”. [235]   “Number One Essential Musicals”.   bbc.co.uk . November The New York Times, November 17, 2009 23, 2006. Retrieved April 11, 2008. [215] Shenton, Mark. “West End Edition of Broadway’s  Hair  to [236]   “Current Productions of HAIR”.   michaelbutler.com. ReShutter Sept. 4”. Playbill.com, May 28, 2010 trieved April 11, 2008. [216] Billington, Michael.   Hair  (review).  The Guardian, April [237] Peter Jennings (September 4, 2002). “The Stage”. In 14, 2010, retrieved April 14, 2010 Search of America. ABC. [217] Spencer, Charles.   Hair   at the Gielgud Theatre.   Daily [238]   Butler, Michael   (September 6, 2006).   “HAIR in RED Telegraph , April 14, 2010, retrieved April 14, 2010 Bank, NJ”.  MB Hair Blog. michaelbutler.com. Retrieved April 13, 2008. [218] Coveney, Michael.   Hair , Gielgud Theatre, London. The Independent , April 14, 2010, retrieved April 14, 2010 [239] Harlib, Leslie.   “Mountain Play’s   Hair  will be a flower power flashback”.  San Jose Mercury News , May 16, 2007, retrieved May 30, 2010

[219] Nightingale, Benedict. "Hair   at the Gielgud”.   Times Online, April 14, 2010, retrieved April 14, 2010

[220] Letts, Quentin. "Hair : Flower power, free love ... and an [240] Horn, pp. 127–29 empty heart”.  Mail Online, April 14, 2010 [241] Horn, pp. 131–32 [221] Verini, Bob.  “L.A. Theater Review:   Hair  at the Holly[242] Wollman, pp. 121–123 wood Bowl”,  Variety, August 2, 2014 [243] Subsequent to Barnes’ comment,  Spider-Man: Turn Off  the Dark   began performances in 2010, with a rock score by  Bono, but the musical suffered a series of mishaps, record expenses and tepid reviews. See, e.g., Pennacchio, [223]  “Stas Namin”. stasnamin.com. Retrieved May 4, 2008. George. "Spider-Man musical opens: What critics said”. ABClocal-KABC, June 14, 2011 [224] Dixit, Pranav. “The Age of Aquarius”.  Hindustan Times , February 19, 2011, retrieved May 12, 2011 [244] Teltsch, Kathleen.  “Youth Assembly Finds an Angel on Broadway”,  The New York Times , May 19, 1970. Re[225]   “Galt MacDermot, Works”.   galtmacdermot.com. Retrieved on November 9, 2013 trieved April 15, 2008. [222]   Hair   40th Anniversary Be-In program, New York, May 3, 2008

[226] “Down with the King, Charts and Awards, Billboard Sin- [245] “World Youth Assembly Fund”. Press release, June 1970, accessed April 19, 2011 gles”.  allmusic.com. Retrieved April 15, 2008. [227]   “The 5th Dimension, Charts & Awards”.   allmusic.com. [246]   “Racusin Keys Trade Youth Drive of UN” .   Billboard , June 6, 1970, accessed April 19, 2011 Retrieved April 11, 2008. [228]   Johnny Depp (Willy Wonka), Tim Burton (Director) (July [247] Johnson, pp. 84–85 10, 2005). Charlie and the Chocolate Factory   (Motion picture). Warner Bros. Retrieved April 11, 2008. Willy [248] Horn, pp. 137–38 Wonka: Good morning, starshine... the earth says hello! [229]   “Here Today,  Hair   Tomorrow Episode Recap”, Season 8, Episode 22, TV.com, accessed October 1, 2010

Bibliography •

[230]  Judd Apatow (Director and writer), Steve Carell (Writer) (August 11, 2005).  The 40 Year Old Virgin  (Motion picture). Universal Pictures. Retrieved April 11, 2008. [231]   David Fincher (Director) (March 2, 2007).   Zodiac   (Motion picture). Paramount Pictures. Retrieved April 11, 2008. [232]   Reid Harrison   (Writer),  Steven Dean Moore   (Director) (1997-01-12). "The Springfield Files".   The Simpsons . Season 8. Episode 163. FOX.

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 Davis, Lorrie and Rachel Gallagher.   Letting Down My Hair: Two Years with theLove Rock Tribe (1973) A. Fields Books ISBN 0-525-63005-8  Horn, Barbara Lee.  The Age of Hair: Evolution and  the Impact of Broadway’s First Rock Musical  (New York, 1991) ISBN 0-313-27564-5   Johnson, Jonathon. Good Hair Days: A Personal  Journey with the American Tribal Love-Rock Musical Hair   (iUniverse, 2004) ISBN 0-595-31297-7

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  Miller, Scott. Let the Sun Shine In: The Genius of  Hair  (Heinemann, 2003) ISBN 0-325-00556-7   Wollman, Elizabeth Lara,  The Theatre Will Rock:  A History of the Rock Musical from Hair to Hedwig

(University of Michigan Press, 2006) ISBN 0-47211576-6

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External links

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 Official website

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  Hair  at the Internet Broadway Database

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•

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 The HAIR Archives at Michael Butler.com, curator Nina Machlin Dayton, containing numerous historical documents about the musical  Official HAIR blog from Michael Butler, the musical’s original producer  Links to discographies and listings of original cast albums and recordings of songs in  Hair   compiled by John Holleman

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 Official Galt MacDermot website,  Hair   composer

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 Reocities’ “Hair pages”, curator Tracy Harris

EXTERNAL LINKS 

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Text and image sources, contributors, and licenses

14.1 •

Text

 Hair (musical)   Source:  https://en.wikipedia.org/wiki/Hair_(musical)?oldid=672708633  Contributors:  Tarquin, Zoe, KF, Someone else,

Ericd, Edward, Patrick, Stevenj, Baylink, TUF-KAT, Big iron, WhisperToMe, Grendelkhan, Itai, Nricardo, Jerzy, Lumos3, Bearcat, Bgruber, Pfrishauf, Moncrief, ZekeMacNeil, Smb1001, SoLando, David Gerard, Matthew Stannard, Matt Gies, Djinn112, Samuel J. Howard, Michael Devore, Varlaam, Bookcat, Rainier Schmidt, Queerwiki, Chowbok, Dunks58, Bodnotbod, Icairns, Morgan695, PeR, Kaisersanders, Sam, Hugh7, Grstain, Redlemur, Aralvarez, Discospinster, Rich Farmbrough, Guanabot, Mazi, Ericamick, User2004, Wadewitz, Bender235, PedanticallySpeaking, Clarkbhm, SPUI, Alansohn, Cammoore, LtNOWIS, Diego Moya, Calton, Sciurinæ, Versageek, Sleigh, Ghirlandajo, Euphrosyne, Mwalcoff, Angr, Firsfron, Schroeder74, JeremyA, Zooks527, Emerson7, Deltabeignet, BD2412, Kbdank71, Ted Wilkes, Mendaliv, Rjwilmsi, Koavf, Arie~enwiki, Jivecat, BlueMoonlet, CoStar, Lairor, MarnetteD, MinorEdit, Cacafuego95, Ground Zero, Nivix, JYOuyang, GangofOne, DVdm, Design, Kummi, YurikBot, Wavelength, SkyCaptain~enwiki, Rob T Firefly, StuffOfInterest, RussBot, Zigamorph, Danbarnesdavies, Yllosubmarine, NawlinWiki, Harrisdoran, Nowa, Warpedmirror, Tony1, IslandGyrl, Duncypoo, Omtay38, JoanneB, JLaTondre, Jonathan.s.kt, SmackBot, Classicfilms, KnowledgeOfSelf, Wakuran, Gjs238, Gilliam, Hmains, Betacommand, Fetofs, Chris the speller, Quinsareth, W8IMP, Sadads, Kevin Ryde, Wikipediatrix, Caterpillar 36, Earbox, Darth Panda, Athanor~enwiki, Islandtech, Chlewbot, OOODDD, Estrose, Krich, Cybercobra, SnappingTurtle, Salamurai, Risker, Ohconfucius, Thepangelinanpost, MusicMaker5376, John, Nagle, Hulmem, BillFlis, Yvesnimmo, Albatrossish, AdultSwim, E-Kartoffel, LokiV, Levineps, Simon12, AlanEisen, Courcelles, Tawkerbot2, WolfgangFaber, JForget, Wolfdog, CmdrObot, Mark E, CuriousEric, Gegorg, Floweryfriend, AndrewHowse, Cydebot, Korky Day, Evenmadderjon, Aristophanes68, Otto4711, Optimist on the run, Ssilvers, Kozuch, Thijs!bot, Epbr123, Robsinden, TonyTheTiger, Daniel, Philippe, Dugwiki, Scottandrewhutchins, MachoCarioca, AntiVandalBot, GCL, Manushand, Uusitunnus, MER-C, Epeefleche, Zephyrnthesky, Awien, Bohemian kitten, Lawikitejana, Magioladitis, VoABot II, Thedoorhinge, QuizzicalBee, Hullaballoo Wolfowitz, TMBurns, Ling.Nut, David!!, Froid, Avicennasis, Vlinchong, Marcel flaubert, DerHexer, Purslane, Flami72, Seba5618, MartinBot, Andyebon, Ourgangfan, R'n'B, LedgendGamer, J.delanoy, Rusty201, All Is One, Love2world, TheScotch, Robertgreer, Prhartcom, Jevansen, Eric0000, Gmacdermot, Dadad, Bovineboy2008, Ghareth, And1987, Walor, Crohnie, Spandox, PaladinWhite, MearsMan, Madhero88, Jamesmarkhetterley, Peanutbutterstella, Apforz42, Number87, Exguyparis, FKmailliW, Shaidar cuebiyar, Arrenbas, Americanblue, Tientao, SieBot, Broadwaygal, TJRC, Malcolmxl5, Starfish1014, NiGhTPoWeR, Oxymoron83, Jack1956, Baberothman, Lisatwo, Lightmouse, Minturn, Timerrill, Fratrep, Bardofcornish, Mblaxill, Randy Kryn, ImageRemovalBot, De Boni 2007, ClueBot, SummerWithMorons, Scolford, Binksternet, Mjpasqua, Mickb123, Jdolno7brand, Drmies, Wrhwrhwrh, Piledhigheranddeeper, Trivialist, Arjyamaj, Excirial, Mej6159, Grammartroll, Arjayay, JETSAMADDUDE., Ooklesthedog, Ostalocutanje, Thingg, Rphmy, Aitias, Guyclone, Limonns, Pseudoserpent, Classicrockfan42, Miami33139, Brianveggie, XLinkBot, Dthomsen8, PhilSchabus, HorseGirl070605, Kbdankbot, Addbot, Vanished user zdkjeirj3i46k67, Offenbach, CL, Blethering Scot, Broadweighbabe, Lemongirl4, Stgx, Lucian Sunday, Legobot, Pointer1, Luckas-bot, TaBOT-zerem, Legobot II, AnomieBOT, Aceross, Jim1138, IRP, Brilliant trees, Taam, Flewis, LiteraryMaven, ArthurBot, Nerdo44, Capricorn42, Sb1990, Ryanmalik01, Zoe16cec, Tunebroker, Learner001, FrescoBot, Jeanie77, Godofgaming1337, Reizenden, Pinethicket, Skyerise, SergeWoodzing, MarionFriedman, Discographer, Haynes.cliff, Petronius2, Seahorseruler, Jhenderson777, PleaseStand, Between My Ken, Cnichola, TjBot, Beyond My Ken, Thesmatestguy, DASHBot, EmausBot, John of Reading, WikitanvirBot, Bldolson, GoingBatty, Skip321, Miracle69, JDDJS, ZéroBot, SporkBot, Erianna, Donner60, Geo47, Spicemix, Equisy, ClueBot NG, CactusBot, Rexthedj, Thankyou01, O.Koslowski, Herod9, Inca8, Djb725, Serozsa11, Robert Paul Davis, LongLiveMusic, LooglyLoo, Anbu121, BattyBot, ChrisGualtieri, YFdyh-bot, James Benn, JensenBoger, Epicgenius, Camyoung54, Lordorings, Agenciamonterrey, Endlesshallway, 1989, Imgoingtobroadwaysoyeah, ԳևորգՄ90, Minecraft Gurll and Anonymous: 453

14.2 •

Images

  File:Aquarius.ogg Source:  https://upload.wikimedia.org/wikipedia/en/0/03/Aquarius_-_Let_the_Sunshine_In_%28song_from_Hair_-_ sample%29.ogg License:   Fair use   Contributors: 

Original Broadway cast recording of  Hair  Original artist:  ? •

 File:CheetahPoster12lowres.jpg Source:  https://upload.wikimedia.org/wikipedia/en/1/11/CheetahPoster12lowres.jpg License:  Fair use Contributors: 

michaelbutler.com  Original artist:  ? •

 File:Easy_to_be_Hard.ogg   Source:  https://upload.wikimedia.org/wikipedia/en/f/f4/Easy_to_be_Hard.ogg License:   Fair use   Contributors: 

2009 Broadway revival recording of  Hair  Original artist:  ? •

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  File:Gnome-mime-sound-openclipart.svg   Source:    https://upload.wikimedia.org/wikipedia/commons/8/87/ Gnome-mime-sound-openclipart.svg  License:   Public domain   Contributors:  Own work. Based on File:Gnome-mime-audio-openclipart. svg, which is public domain.  Original artist:  User:Eubulides   File:Hair.ogg Source:  https://upload.wikimedia.org/wikipedia/en/1/1f/Hair.ogg License:  Fair use   Contributors: 

Original Broadway cast recording of  Hair  Original artist:  ? •

  File:Hair2009.jpg Source:  https://upload.wikimedia.org/wikipedia/en/4/4e/Hair2009.jpg License:  Fair use   Contributors: 

http://www.playbillstore.com/habrpo.html Original artist:  ? •

  File:Hairmovieposter.jpg Source:  https://upload.wikimedia.org/wikipedia/en/2/24/Hairmovieposter.jpg License:  Fair use   Contributors: 

http://www.movieposter.com/poster/A70-3068/Hair.html Original artist:  ? •

  File:Hairposter.jpg Source:  https://upload.wikimedia.org/wikipedia/en/b/b8/Hairposter.jpg License:  Fair use   Contributors: 

http://www.orlok.com/hair/holding/photographs/hair/HairPoster.html Original artist:  ?

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TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 

 File:London1lowres.jpg Source:  https://upload.wikimedia.org/wikipedia/en/3/3c/London1lowres.jpg License:  Fair use   Contributors: 

michaelbutler.com  Original artist:  ? •

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 File:Piece_of_work.png Source:  https://upload.wikimedia.org/wikipedia/en/b/bb/Piece_of_work.pngLicense:  ?   Contributors:  ?  Original  artist:  ?  File:Red_Bank_Hair.jpg Source:  https://upload.wikimedia.org/wikipedia/commons/e/e5/Red_Bank_Hair.jpg License:  CC-BY-SA-3.0 Contributors:  http://c.myspace.com/Groups/00016/39/63/16803693_l.jpg Original artist:  Anthony D'Amato File:Swedish_1968_Hair_Cast_performing_2015.jpg Source:  https://upload.wikimedia.org/wikipedia/commons/c/cf/Swedish_1968_ Hair_Cast_performing_2015.jpgLicense:   CCBY-SA3.0 Contributors:  Thisimage comes from the Southerly Clubs of Stockholm, Sweden,

a non-profit society which owns image publication rights to the archives of Lars Jacob Prod, Mimical Productions, F.U.S.I.A., CabarEng, Ristesson Ent and FamSAC. Southerly Clubs donated this picture to the Public Domain. Deputy Chairman Emil Eikner for the Board of Directors, Hallowe'en 2008.  Original artist:   Lars Jacob for CabarEng. •

File:The_Flesh_Failures_(Let_The_Sunshine_In).ogg   Source:  https://upload.wikimedia.org/wikipedia/en/0/0d/The_Flesh_Failures_ %28Let_The_Sunshine_In%29.ogg License:   Fair use   Contributors: 

Original Broadway cast recording of  Hair  Original artist:  ? •

File:Where_Do_I_Go_.ogg Source:  https://upload.wikimedia.org/wikipedia/en/e/e5/Where_Do_I_Go_.ogg License:  Fair use   Contributors: 

Original Broadway cast recording of  Hair  Original artist:  ?

14.3 •

Content license

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