Hair (musical)

Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot. The work reflects the creators' observations of the hippie counterculture and sexual revolution of the late 1960s, and several of its songs became anthems of the anti-Vietnam War movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused controversy.<ref name=Horn87/> The work broke new ground in musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "Be-In" finale.<ref name=LATimes>Pacheco, Patrick (June 17, 2001). "Peace, Love and Freedom Party", Template:Webarchive Los Angeles Times, p. 1. Retrieved on June 10, 2008</ref>

Hair tells the story of the "tribe", a group of politically active, long-haired hippies of the "Age of Aquarius" living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his 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 conservative parents and society. Ultimately, Claude must decide whether to resist the draft, as his friends have done, or serve in Vietnam, compromising his pacifist principles and risking his life.

After an off-Broadway debut on October 17, 1967, at Joseph Papp's Public Theater, and a run at the Cheetah nightclub from December 1967 through January 1968, the show opened on Broadway in April 1968 and ran for 1,750 performances. Simultaneous productions in cities across the United States and Europe followed shortly thereafter, including a London production that ran for 1,997 performances. Since then, productions have been staged around the world, spawning dozens of recordings, including the 3 million-selling original Broadway cast recording. Some of the songs became Top 10 hits, and a feature film adaptation was released in 1979. A Broadway revival opened in 2009, earning strong reviews and winning the Tony Award and Drama Desk Award for Best Revival of a Musical. In 2008, Richard Zoglin wrote in Time that "Today Hair seems, if anything, more daring than ever."<ref name=daring>Zoglin, Richard. "A New Dawn for Hair", Time, July 31, 2008 (in the August 11, 2008 issue, pp. 61–63)</ref>

History

Actors James Rado and Gerome Ragni began writing Hair together in late 1964.<ref name=Hairstory>Rado, James (February 14, 2003). "Hairstory – The Story Behind the Story", Template:Webarchive hairthemusical.com. Retrieved on April 11, 2008.</ref><ref name=Lortel>"Viet Rock" Template:Webarchive. Lortel Archives: The Internet Off-Broadway Database. Retrieved on April 11, 2008.</ref> The main characters were autobiographical, with Rado's Claude a pensive romantic and Ragni's Berger an extrovert. Their close relationship, including its volatility, was reflected in the musical. Rado said, "We were great 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."<ref name=StarLedger>"40 years of 'Hair'" Template:Webarchive. Newark Star-Ledger (July 19, 2008). Retrieved on July 26, 2008.</ref>

Rado described the inspiration for Hair as "a combination of some characters we met in the streets, people we knew and our own imaginations. We knew this group of kids in the East Village who were dropping out and dodging the 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".<ref name=LATimes/> 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. ... We hung out with them and went to their Be-Ins [and] let our hair grow."<ref name=Taylor>Taylor, Kate (September 14, 2007). "The Beat Goes On" Template:Webarchive. The New York Sun. Retrieved on May 27, 2008.</ref> Many cast members (Shelley Plimpton in particular) were recruited off the street.<ref name=LATimes/> Rado said, "It was very important historically, and if we hadn't written it, there'd not be any examples. You could read about it and see 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."<ref name=prog2009>Haun, Harry. "Age of Aquarius", Playbill, April 2009, from Hair at the Al Hirschfeld Theatre, p. 7</ref> According to Rado's obituary in The New York Times, the title was inspired by "a painting of a tuft of hair by the Pop artist Jim Dine. Its title was Hair."<ref name=TimesObit>Template:Cite web</ref><ref name=Courant/>

Rado and Ragni came from different artistic backgrounds. In college, Rado wrote musical revues and aspired to be a Broadway composer in the Rodgers and Hammerstein tradition. He went on to study acting with Lee Strasberg. Ragni was a member of The Open Theater, one of several groups that were developing experimental theatre techniques,<ref name=Miller>Miller, pp. 54–56</ref> including non-traditional theater roles, blurring the lines between playwright, director and actor. By 1967, theaters such as The Living Theatre, La MaMa Experimental Theatre Club and The Open Theatre were devising plays from improvisational scenes crafted in the rehearsal space rather than following a traditional script.<ref name=miller56>Miller, pp. 56–58</ref> Ragni introduced Rado to the modern theatre styles and methods being developed at The Open Theater.<ref>Horn, p. 23</ref> In 1966, while the two were developing Hair, Ragni performed in The Open Theater's production of Megan Terry's play Viet Rock, about young men being deployed to the Vietnam War.<ref>Gary Botting, The Theatre of Protest in America, Edmonton: Harden House, 1972</ref> Viet Rock employed the improvisational exercises being used in experimental theatre.<ref name=Lortel/><ref>Horn, pp. 18–19</ref> Scenes were connected in "prelogical ways": a scene could be built from a tangent from the previous scene, in counterpoint to it, or connected psychologically.<ref name=miller56/> Actors switched roles in the middle of a show, in mid-scene, or played actors. Terry wrote, "The ... transformations should be abrupt and total."<ref name=miller56/> Hair was designed in much the same way; the actors play different characters throughout the piece, and, as in Claude's psychedelic trip in Act 2, sometimes during the same scene. As in Viet Rock, the actors frequently break the "fourth wall" to interact with the audience.<ref name=miller56/>

Rado and Ragni brought their drafts of the show to producer Eric Blau who, through common friend Nat Shapiro, connected the two with Canadian composer Galt MacDermot.<ref>Horn, p. 27</ref> MacDermot had already won two Grammy Awards for Best Instrumental Composition and Best Original Jazz Composition in 1961 for his "African Waltz" (recorded by Cannonball Adderley).<ref>"Galt MacDermot", Grammy Awards. Retrieved August 14, 2025</ref> The composer's lifestyle was in marked contrast to his co-creators: "I had short hair, a wife, and, at that point, four children, and I lived on Staten Island."<ref name=Taylor/> "I never even heard of a hippie."<ref name=prog2009/> But he shared their enthusiasm to do a rock and roll show.<ref name=prog2009/> "We work independently", MacDermot said in May 1968. "I prefer it that way. They hand me the material. I set it to music."<ref>Whittaker, Herbert (May 1968). "Hair: The Musical That Spells Good-bye Dolly!" Template:Webarchive. The Canadian Composer. Retrieved on April 18, 2008.</ref> MacDermot wrote the first score in three weeks,<ref name=StarLedger/> starting with "I Got Life", "Ain't Got No", "Where Do I Go" and the title song.<ref name=LATimes/> He first wrote "Aquarius" as an unconventional art piece, but later rewrote it as an uplifting anthem.<ref name=StarLedger/>

Off-Broadway productions

The creators pitched the show to Broadway producers and received many rejections. Eventually Joe Papp, who ran the New York Shakespeare Festival, decided he wanted Hair to open the new Public Theater (still under construction) in New York City's East Village. Hair was the first work by living authors that Papp produced.<ref>Saltz, Amy. "Flow it, show it: 50 years of HairTemplate:Webarchive, American Theatre, October 17, 2017, accessed August 5, 2018</ref> The director, Gerald Freedman, the theater's associate artistic director, decided that Rado, at 35, was too old to play Claude, although he agreed to cast the 32-year-old Ragni as Berger.<ref name=TimesObit/> The production did not go smoothly:

The rehearsal and casting process was confused, the material itself incomprehensible to many of the theater's staff. [Freedman] withdrew in frustration during the final week of rehearsals and offered his resignation. Papp accepted it, and the choreographer Anna Sokolow took over the show. ... After a disastrous final dress rehearsal, Papp wired Mr. Freedman in Washington, where he'd fled: "Please come back." Mr. Freedman did.<ref name=isherwooda>Isherwood, Charles (September 16, 2007). "The Aging of Aquarius" Template:Webarchive. The New York Times. Retrieved on May 25, 2008.</ref>

Hair premiered off-Broadway at the Public on October 17, 1967, and ran for 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 Wilkerson as Hud, Sally Eaton as Jeanie and Shelley Plimpton as Crissy.<ref>Horn, p. 34</ref> Set design was by Ming Cho Lee, costume design by Theoni Aldredge, and, although Anna Sokolow began rehearsals as choreographer, Freedman received choreographer credit.<ref>Horn, pp. 32–33</ref> The production had a "tepid critical reception" but was popular with audiences.<ref name=isherwooda/> A cast album was released in 1967.<ref>"Album Reviews" Template:Webarchive, Billboard, December 2, 1967, p. 98</ref>

Chicago businessman Michael Butler was planning to run for the U.S. Senate on an antiwar platform. After seeing an ad for Hair in The New York Times that led him to believe the show was about Native Americans, he watched the Public's production several times<ref name=Taylor/> and joined forces with Papp to reproduce the show at another New York venue after it closed at the Public. Papp and Butler first moved the show to The Cheetah discothèque in midtown, where it opened on December 22, 1967,<ref>Zolotow, Sam (January 23, 1968). "Hair Closes Sunday" Template:Webarchive The New York Times, reproduced at michaelbutler.com. Retrieved on May 23, 2009</ref> and ran for 45 performances.<ref name=LATimes/> There was no nudity in either the Public Theater or Cheetah production.<ref name=Horn87>Horn, pp. 87–88</ref>Template:Clear left

Revision for Broadway

Hair underwent a thorough overhaul between its closing 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<ref name=horn39/> and made more realistic.<ref name=allmusic>Planer, Lindsay. "Hair [Original 1967 Off-Broadway Cast]", Template:Webarchive AllMusic.com, accessed February 3, 2011</ref> Template:Nowrap were added,<ref name=horn39>Horn, pp. 39–40</ref> including "Let the Sun Shine In", to make the ending more uplifting.<ref name=StarLedger/>

Before the move to Broadway, the creative team hired director Tom O'Horgan, who had built a reputation directing experimental theater at La MaMa E.T.C.<ref name=Applause/> He had been the authors' first choice to direct the Public Theater production, but he was in Europe at the time.<ref>Horn, p. 29</ref> Newsweek called O'Horgan's directing style "sensual, savage, and thoroughly musical ... [he] disintegrates verbal structure and often breaks up and distributes narrative and even character among different actors. ... He enjoys sensory bombardment."<ref>Junker, Howard. "Director of the Year" Template:Webarchive. Newsweek, orlok.com, June 3, 1968, accessed April 11, 2008</ref> O'Horgan and the writers rearranged scenes to increase the experimental aspects.<ref name=miller56/> In rehearsals, O'Horgan used techniques passed down by Viola Spolin and Paul Sills involving role playing and improvisational "games", many of which were incorporated into the Broadway script.<ref name=horn53>Horn, p. 53</ref> 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.<ref name=prog2009/> The inspiration to include nudity came when the authors saw an antiwar demonstration in Central Park in which two men stripped naked as an expression of defiance and freedom.<ref name=prog2009/> O'Horgan had used nudity in many of the plays he directed, and he helped integrate the idea into the fabric of the show.<ref name=LATimes/>

Papp declined to pursue a Broadway production, so Butler produced the show himself. For a time it seemed that he would be unable to secure a Broadway theater, as the Shuberts, Nederlanders and other theater owners deemed the material too controversial. But Butler had family connections and knew important people; he persuaded Biltmore Theatre owner David Cogan to make his venue available.<ref>Horn, p. 42</ref> The stage design was completely open, with no curtain and the fly area and grid exposed to the audience. The proscenium arch was outlined with climb-ready scaffolding. The spare set was painted in shades of grey, with street graffiti stenciled on the stage. The stage was raked, and a tower of abstract scaffolding upstage at the rear merged a Native American totem pole and a modern sculpture of a crucifix-shaped tree. This scaffolding was decorated with found objects that the cast gathered from New York's streets, including a life-size papier-mâché bus driver, a head of Jesus and a neon marquee of the Waverly movie theater in Greenwich Village.<ref name=Horn61>Horn, pp. 61–64</ref> The 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.<ref name=Horn61/>

Synopsis

Act I

Claude sits center stage as the "tribe" mingles with the audience. Tribe members Sheila, a New York University student and political activist, and Berger, an irreverent free spirit, cut a lock of Claude's hair and burn it. After the tribe converges in slow motion toward the stage, they begin their celebration as children of the Age of Aquarius ("Aquarius"). Berger removes his trousers to reveal a loincloth. Interacting with the audience, he introduces himself as a "psychedelic teddy bear ... looking for my Donna" ("Donna").

The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols sexual practices ("Sodomy"). He loves plants, his family and the audience, telling the audience, "We are all one." Hud, a militant African-American, is carried in upside-down on a pole. He declares himself "president of the United States of Love" ("Colored Spade"). In a fake English accent, Claude says that he is "the most beautiful beast in the forest" from "Manchester, England". A tribe member reminds him that he's from Flushing, New York ("Manchester England"). Hud, Woof and Berger declare their color ("I'm Black"), while Claude counters that he is "invisible". The tribe rattles off a list of things they lack ("Ain't Got No"). African-American tribe members list street signs in symbolic sequence ("Dead End"). Sheila is carried onstage ("I Believe in Love") and leads the tribe in a protest chant. Jeanie, an eccentric young woman, appears wearing a gas mask because of pollution ("Air"). She is pregnant and in love with Claude, wishing it was Claude's baby, as she was "knocked up by some crazy speed freak". The tribe link LBJ, FBI, CIA and LSD ("Initials"). Members of the tribe appear dressed as Claude's parents, berating him for transgressions: he has no job and collects "mountains of paper" clippings and notes. They say they will not give him any more money, and "the army'll make a man out of you", presenting him with his draft notice. In defiance, Claude leads the tribe in celebrating their vitality ("I Got Life").

Berger hands out imaginary pills to the tribe members, saying they are for high-profile people such as Richard Nixon, the Pope and "Alabama Wallace". He relates how he was expelled from high school. Three tribe members dress up as school principals in Hitler mustaches and swastika armbands, mocking the American education system. Berger and the tribe defy them, singing "Going Down". Claude returns from passing his draft board physical. He pretends to burn his Vietnam War draft card, which Berger reveals is a library card. Claude agonizes about what to do about being drafted. Two tribe members dressed as tourists arrive to ask the tribe why they have long hair. Claude and Berger lead the tribe in explaining the significance ("Hair"). The woman says kids should "be free, no guilt" and "do whatever you want, just so long as you don't hurt anyone." She observes that long hair is natural ("My Conviction"). She opens her coat to reveal that she's a man in drag. As the couple leaves, the tribe calls her Margaret Mead.

Sheila gives Berger a yellow shirt. He goofs around and tears it in two. Sheila laments that Berger cares more about the "bleeding crowd" than about her ("Easy to Be Hard"). Jeanie summarizes everyone's romantic entanglements: "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger." Berger, Woof and another tribe member pay satiric tribute to the American flag as they fold it ("Don't Put it Down"). The tribe joins the audience, inviting them to a Be-In. After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In". The men burn their draft cards. Claude puts his card in the fire, changes his mind and pulls it out. He asks, "where is the something, where is the someone, that tells me why I live and die?" ("Where Do I Go"). The tribe appears naked, intoning "beads, flowers, freedom, happiness."

Act II

Some tribe members have the "Electric Blues". The tribe enters worshiping in an attempt to summon Claude ("Oh Great God of Power"). Claude returns from the induction center, and tribe members act out an imagined conversation from his 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; Woof is excited about the gift, as he is infatuated with 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 Claude a joint 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. They all dance a minuet until African witch doctors kill them, except for Lincoln, who says, "I'm one of you". After the Africans sing his praises, Lincoln recites an alternate version of the Gettysburg Address ("Abie Baby"). Booth shoots Lincoln, but Lincoln tells him, "Shit! I'm not dyin' for no white man". As the visions continue, Buddhist monks enter. One pours a can of gasoline over another monk, who is set afire (reminiscent of the self-immolation of Thích Quảng Đức) and runs off screaming. Three Catholic nuns strangle the three remaining Buddhist monks. Three astronauts shoot the nuns with ray guns. Three Chinese people stab the astronauts. Three Native Americans kill the Chinese with bows and tomahawks. Three Green Berets kill the Native Americans with machine guns and then kill each other. A sergeant appears with two parents holding a suit on a hanger, talking to the suit as if it were their son of whom they are very proud. The bodies rise and play like children. The playing escalates to violence until they are all dead again. They rise again and comment about the casualties in Vietnam: "It's a dirty little war" ("Three-Five-Zero-Zero"). At the end of the sequence, two tribe members sing, over the dead bodies, Shakespeare's paean to the nobility of Man ("What A Piece of Work Is Man").

After the trip, Claude says "I can't take this moment to moment living on the streets. ... I want to be ... invisible". As they "look at the Moon", Sheila and the others enjoy a light moment ("Good Morning Starshine"). The tribe pays tribute to an old mattress ("The Bed"). Claude leaves as the tribe enters wrapped in blankets during a snowstorm. They begin a protest chant and then call for Claude. Claude enters dressed in a military uniform, his hair short, but the tribe does not see him because he is an invisible spirit. Claude says, "like it or not, they got me." The tribe sings "Flesh Failures". They move in front of Claude and launch into "Let the Sun Shine In"; as they exit, Claude is left lying in the center. During the curtain call, the tribe reprises "Let the Sun Shine In" and brings audience members on stage to dance.

(Note: This plot summary is based on the original Broadway script. The script has varied in subsequent productions.)

Principal casts

Role	Off-Broadway	Broadway<ref name=IBDB/>	Los Angeles	West End	Broadway Revival	Broadway Revival<ref>Template:Cite web</ref>	West End Revival<ref>Hetrick, Adam. "Tony-Winning Hair Revival Opens in London April 14", Playbill, April 14, 2010</ref>
	1967	1968			1977	2009	2010
Claude Hooper Bukowski	Walker Daniels	James Rado		Paul Nicholas	Randall Easterbrook	Gavin Creel
George Berger	Gerome Ragni			Oliver Tobias	Michael Hoit	Will Swenson
Sheila Franklin	Jill O'Hara	Lynn Kellogg	Jennifer Warnes	Annabel Leventon	Ellen Foley	Caissie Levy
Jeanie	Sally Eaton		Teda Bracci	Linda Kendrick	Iris Rosenkrantz	Kacie Sheik
Neil "Woof" Donovan	Steve Dean	Steve Curry	Jobriath Salisbury	Vince Edwards	Scott Thornton	Bryce Ryness	Luther Creek
Hud	Arnold Wilkerson	Lamont Washington	Ben Vereen	Peter Straker	Cleavant Derricks	Darius Nichols
Chrissy	Shelley Plimpton		Kay Cole	Sonja Kristina	Kristin Vigard	Allison Case
Dionne	Jonelle Allen	Melba Moore	Gina Hardin	Helen Downing	Alaina Reed	Sasha Allen
"Aquarius" Soloist	Ronnie Dyson		Delores Hall	Vince Edwards

Early productions

Broadway

Hair opened on Broadway at the Biltmore Theatre on April 29, 1968. The production was directed by O'Horgan and choreographed by Arenal, with designs by Robin Wagner (set), Nancy Potts (costumes), and Jules Fisher (lighting). The original Broadway cast included Rado and Ragni as Claude and Berger, Lynn Kellogg as Sheila, Lamont Washington as Hud, Eaton, Plimpton and Dyson reprising their off-Broadway roles as Jeanie, Crissy and the "Aquarius" soloist, Melba Moore as Dionne, Steve Curry as Woof, and Paul Jabara and Diane Keaton in the ensemble (both Moore and Keaton later played Sheila).<ref name=IBDB>original Broadway production of Hair Template:Webarchive at the Internet Broadway Database, accessed June 30, 2017</ref> Other replacements during the original Broadway run were Ben Vereen, Keith Carradine, Barry McGuire, Ted Lange, Meat Loaf, La La Brooks, Mary Seymour (of Musique), Joe Butler, Peppy Castro (of the Blues Magoos), Robin McNamara, Eddie Rambeau, Vicki Sue Robinson, Beverly Bremers, Bert Sommer, Dale Soules and Kim Milford.<ref name=IBDB/> It was the first Broadway show to have a regular ticket price of $50, with 12 of the seats at this price for sale to large corporations from July 1968. The top price when it opened was $11.<ref>Template:Cite magazine</ref>

The Hair team soon became embroiled in a lawsuit with the organizers of the Tony Awards. After assuring producer Michael Butler that commencing previews by April 3, 1968, would assure eligibility for the 1968 Tonys, the New York Theatre League ruled Hair ineligible, moving the cutoff date to March 19. The producers sued<ref>"Producer Sues N.Y. Theatre League On Hair Exclusion as Tony Entry" Template:Webarchive. Variety, michaelbutler.com (March 10, 1968). Retrieved on April 11, 2008.</ref> but were unable to force the League to reconsider.<ref>Zoltrow, Sam (March 22, 1968). "Happy Time Gets 10 Mentions Among Tony Award Candidates" Template:Webarchive. The New York Times, p. 59. Retrieved on April 11, 2008.</ref> At the 1969 Tonys, Hair was nominated for Best Musical and Best Director but lost to 1776 in both categories.<ref>"Past Winners, 1969". tonyawards.com. Retrieved on April 11, 2008</ref> The production ran for four years and 1,750 performances, closing on July 1, 1972.<ref name=IBDB/>

Early regional productions

The West Coast version played at the Aquarius Theater in Los Angeles beginning about six months after the Broadway opening and running for an unprecedented two years. The Los Angeles tribe included Rado, Ragni, Vereen (who played Hud and then replaced Ragni), Ted Neeley (who replaced Rado), Willie Weatherly (who played Berger and Claude), Meat Loaf, Gloria Jones, Táta Vega, Jobriath, Jennifer Warnes and Dobie Gray.<ref name=Hairstory/>

There were soon nine simultaneous productions in U.S. cities, followed by national tours.<ref name=Hairstory/><ref name=CanEncy>King, Betty Nygaard. "Hair" Template:Webarchive. Encyclopedia of Music in Canada. Historica Foundation of Canada. Retrieved on May 31, 2008.</ref> Performers in these included Joe Mantegna, André DeShields, Charlotte Crossley and Alaina Reed (Chicago),<ref>Johnson, p. 87</ref> David Lasley, David Patrick Kelly, Meat Loaf, and Shaun Murphy (Detroit),<ref>Hair program, Detroit, 1970</ref> Kenny Ortega and Arnold McCuller (tour),<ref>Johnson, p. 134</ref> Bob Bingham (Seattle)<ref>Biographical notes in the Jesus Christ Superstar film souvenir booklet (1973)</ref> and Philip Michael Thomas (San Francisco).<ref>Johnson, p. 82</ref> 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. In Los Angeles, Tom Smothers was co-producer.<ref>Johnson, pp. 33, 81, 87–88</ref> Regional casts consisted mostly of local actors, although a few Broadway cast members reprised their roles.<ref name=Horn100>Horn, pp. 100–01</ref> 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.<ref name=Horn100/>

It was rare for so many productions to run simultaneously during an initial Broadway run. Butler, who had called Hair "the strongest anti-war statement ever written", said the reason he opened so many productions was to influence public opinion against the war and end it as soon as possible.<ref>Butler, Michael. "How and Why I Got Into Hair" Template:Webarchive. Pages from Michael Butler's Journal, michaelbutler.com. Retrieved on April 11, 2008.</ref>

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.<ref>Lewis, Anthony. "Londoners Cool To Hair's Nudity: Four Letter Words Shock Few at Musical's Debut", Template:Webarchive The New York Times, September 29, 1968</ref> As with other early productions, the London show added local allusions and other minor departures from the Broadway version.<ref name=Horn105>Horn, p. 105</ref>

The original London tribe included Sonja Kristina, Peter Straker, Paul Nicholas, Melba Moore, Annabel Leventon, 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.<ref>"Tim Curry – Actor" Template:Webarchive. Edited Guide Entry. bbc.uk.co (January 2, 2007). Retrieved on April 11, 2008.</ref> HairTemplate:'s engagement in London surpassed the Broadway production, running for 1,997 performances<ref name=Horn105/> until the roof of the theatre collapsed in July 1973.<ref>"Shaftesbury Theatre, London" Template:Webarchive, Thisistheatre.com. Retrieved on April 3, 2018.</ref>

Early international productions

Bertrand Castelli, Butler's partner and executive producer of the Broadway show, led the foreign-language productions.<ref name=Horn103>Horn, pp. 103–10</ref> Castelli was a writer/producer known in Paris art circles. Butler called him a "crazy showman ... the guy with the business suit and beads".<ref>Horn, p. 37</ref> Castelli decided to do the show in the local language of each country at a time when Broadway shows were always done in English.<ref name=Horn103/> The translations followed the original script closely, and the Broadway stagings were used. Each script contained local references. Castelli produced companies in France, Germany, Mexico and other countries, sometimes also directing the productions.<ref name=Horn103/> The first European production, after London, opened in Stockholm, Sweden, on September 20, 1968, with a cast including Ulf Brunnberg and Bill Öhrström,<ref>"Hår – musikalen (Hair)" Template:Webarchive, Affischerna.se, 1968, accessed October 25, 2016 (Swedish language)</ref> produced and directed by Pierre Fränckel<ref>Jahnsson, Bengt. "'Hår' på Scala: Bedövande vitalitet", Dagens Nyheter, September 21, 1968, p. 12</ref> and choreographed by Arenal.<ref>Linnarsson, Bengt. Wetool.se "Organisation" Template:Webarchive, Bengt "Bella" Linnarsson, accessed October 25, 2016 (Swedish language)</ref> It ran for 134 performances until March 1969.<ref>"Flummig musikal blir till scenisk rockfest", Dagens Nyheter March 17, 2011, accessed October 25, 2016 (Swedish language)</ref>

Template:AnchorA German production, directed by Castelli,<ref name=Horn103/> opened a month later in Munich;<ref>Blumenthal, Ralph (October 26, 1968). "Munich Audience Welcomes Hair; Applause and Foot Stamping Follow Musical Numbers" Template:Webarchive. The New York Times, p. 27. Retrieved on April 11, 2008.</ref> the tribe included Donna Summer, Liz Mitchell and Donna Wyant. A Paris production opened on June 1, 1969.<ref>"Translated Hair Cheered in Paris; Title Lends Itself to Jest at Candidate's Expense" Template:Webarchive. The New York Times (June 2, 1969), p. 53. Retrieved on June 7, 2008.</ref> The original Australian production debuted 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.<ref>"Hair Reaches Australia" Template:Webarchive, The New York Times (June 7, 1969), p. 26, reproduced at the Hair Online Archives. Retrieved on April 29, 2009.</ref><ref name=Milesago>Hair: Original Australian production Template:Webarchive, Milesago: Australasian Music & Popular Culture 1964–1975, accessed April 29, 2009.</ref> 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 theatrical debut of Marcia Hines.<ref name=Milesago/> In Mexico the production was banned by the government after one night in Acapulco.<ref name=Hairzapoppin/> 18-year-old Sônia Braga appeared in the 1969 Brazilian production.<ref>Sonia Braga Template:Webarchive. Yahoo! Movies, accessed May 27, 2011</ref>

A production in Belgrade, Yugoslavia, in 1969, was the first Hair produced in a communist country.<ref>"Hair Around the World" Template:Webarchive. Newsweek, michaelbutler.com (July 7, 1969). Retrieved on April 11, 2008.</ref> The show, translated into Serbian, was directed by Mira Trailović at the Atelje 212 theatre.<ref name=blic>Nježić, T. "Autorima 'Kose' najviše se dopala beogradska verzija iz 1969" Template:Webarchive, blic.rs, January 31, 2010, accessed May 25, 2016</ref><ref name=lemon69>Lemon, Richard. "Here, There, Everywhere Hair" Template:Webarchive, Performing Arts Magazine, October 1969, accessed May 25, 2016</ref> It featured Dragan Nikolić, Branko Milićević, Seka Sablić and Dušan Prelević.<ref>Rančić, Sandra. "Prvo svetlo u kuci broj 4" Beograd 1968–70, Rockovnik Strana X, Radio Television of Serbia, available on Rockovnik's YouTube channel Template:Webarchive</ref> Over four years, the production played 250 performances and was attended by president Tito.<ref name=blic/> Local references in the script included barbs aimed at Mao Zedong as well as Albania, Yugoslavia's traditional rival.<ref name=Horn103/>

By 1970, Hair was a huge financial success, and 19 productions had been staged outside of North America, including in Scandinavia, South America, Italy, Israel, Japan, Canada, the Netherlands, Switzerland and Austria.<ref name=CanEncy/> According to Billboard, the productions took in almost $1 million every ten days, and royalties were being collected for 300 different recordings of the show's songs, making it "the most successful score in history as well as the most performed score ever written for the Broadway stage".<ref name=billboard670>Gross, Mike. "Hair Is Doing Runaway Business as Score & Play" Template:Webarchive, Billboard, michaelbutler.com, June 27, 1970, accessed April 18, 2008</ref>

Themes

Hair explores many themes of the hippie movement of the 1960s. Theatre critic Scott Miller wrote:

[Youth protests in the 1960s concerned] racism, environmental destruction, poverty, sexism and sexual repression, violence at home and the war in Vietnam, depersonalization from new technologies, and corruption in politics. ... [T]he hippies had great respect for America and believed that they were the true patriots. ... [Long] hair was the hippies' flag—their ... symbol not only of rebellion but also of ... the rejection of discrimination and restrictive gender roles. ... Drab work clothes (jeans, work shirts, pea coats) were a rejection of materialism. Clothing from ... the Third World and native Americans represented their awareness of the global community and their rejection of U.S. imperialism and selfishness. ... [N]atural fabrics were a rejection of synthetics, a return to natural things. ... [O]ld World War II or Civil War jackets [co-opted] the symbols of war into their newfound philosophy of nonviolence.<ref name=Applause>Miller, Scott (2001). "HAIR – An analysis by Scott Miller", Rebels with applause: Broadway's groundbreaking musicals Template:Webarchive. Portsmouth, New Hampshire: Heinemann. Template:ISBN</ref>

Race and the tribe

Extending the precedents set by Show Boat (1927) and Porgy and Bess (1935), Hair opened the Broadway musical to racial integration; fully one-third of the cast was African American.<ref name=Horn134>Horn, p. 134</ref> Except for satirically in skits, the roles for the black tribe members portrayed them as equals, breaking from traditional roles for black people in entertainment as slaves or servants.<ref name=script>Rado, James; Gerome Ragni [1966, 1969]. Hair, Original Script, Tams Whitmark.</ref> An Ebony article called the show the biggest outlet for black actors in the history of the U.S. stage.<ref name=Horn134/> Several songs and scenes from the show address racial issues.<ref name=Applause/> "Colored Spade", introducing the character Hud, a militant black man, is a long list of racial slurs ("jungle bunny ... little black Sambo").<ref>"Colored Spade", Lamont Washington (vocalist), (1968), Hair. RCA Victor, track 5</ref> "Dead End", sung by black tribe members, is a list of street signs that symbolize black frustration and alienation.<ref name=script/> "Black Boys/White Boys" is an exuberant acknowledgment of interracial sexual attraction;<ref>"White Boys", Melba Moore, Lorrie Davis & Emmaretta Marks (vocalists), (1968), Hair. RCA Victor, track 25</ref> the U.S. Supreme Court had not struck down laws banning interracial marriage until 1967.<ref>Loving v. Virginia, 388 U.S. 1 (1967)</ref> "Abie Baby" is part of the Act 2 "trip" sequence: four African witch doctors, who have just killed various American historical, cultural and fictional characters, sing the praises of Abraham Lincoln, portrayed by a black female tribe member, whom they decide not to kill.<ref>"Abie Baby", Lamont Washington, Ronnie Dyson, Donnie Burks & Lorrie Davis (vocalists), (1968), Hair. RCA Victor, track 27</ref> The first part of the song contains stereotypical language that black characters used in old movies, like "I's finished ... pluckin' y'all's chickens" and "I's free now thanks to y'all, Master Lincoln". The Lincoln character recites a modernized version of the Gettysburg Address while a white female tribe member polishes his shoes with her blond hair.<ref name=script/>

The script's many references to Native Americans are part of the anti-consumerist, naturalist focus of the hippie movement and of Hair. The characters are referred to as the "tribe", borrowing the term for Native American communities.<ref name=Applause/> The cast of each production chooses a tribal name. Miller wrote: "The practice is not just cosmetic ... the entire cast must work together, must like each other. ... All the sense of family, of belonging, of responsibility and loyalty inherent in the word 'tribe' has to be felt by the cast."<ref name=Applause/> To enhance this feeling, 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.<ref name=horn53/>

Nudity, sexual freedom and drug use

The brief nude scene at the end of Act I was a subject of controversy and notoriety.<ref name=Horn87/><ref>"Musical Hair opens as censors withdraw" Template:Webarchive. On this Day. bbc.co.uk (November 27, 1968). Retrieved on April 11, 2008.</ref> "Much has been written about that scene ... most of it silly," wrote Gene Lees in High Fidelity.<ref name=highfidelity/> During "Where Do I Go?", those choosing to participate in the scene removed their clothes behind a scrim. At the musical cue, "they [stood] naked and motionless, their bodies bathed" in dim projections of floral patterns, chanting.<ref>Horn, p. 74</ref><ref name=BrienN>Brien, Alan. "Alan Brien Takes an Advance Look at a Frontal Attack on Broadway" Template:Webarchive. The London Sunday Times, April 28, 1968. Retrieved on July 2, 2008.</ref> It lasted 20 seconds.<ref>"Phoenix Fright Wig Up On Hair; Many Mix-Up Calcutta" Template:Webarchive. Variety (August 5, 1970). Retrieved on July 2, 2008.</ref> The scene prompted threats of censorship and even violent reactions in some places.<ref name=Taylor/> It also became fodder for pop-culture jokes. Jack Benny quipped at a London preview, "Did you happen to notice if any of them were Jewish?"<ref name=BrienN/> Groucho Marx joked, "I was gonna go see it ... [To save the $11 ticket price,] I went into my bathroom, took off all my clothes, and looked at myself in the full-length mirror."<ref>Chandler, Charlotte. "Playboy Interview: Groucho Marx", Playboy, March 1974</ref>

The nudity was optional for the performers. The French cast was "the nudest" of the foreign groups, while the London cast "found nudity the hardest to achieve".<ref name=lemon69/> In Copenhagen, the tribe thought the nudity too tame and decided to walk naked in the aisle during the show's prelude.<ref name=Horn103/> In some early performances, the Germans played their scene behind a big sheet labeled "CENSORED".<ref name=Horn103/><ref name=lemon69/> Miller writes, "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. ... They saw their bodies and their sexuality as gifts".<ref name=Applause/> According to Melba Moore, "It doesn't mean anything except what you want it to mean. ... It's like so much else people get uptight about."<ref>Berkvist, Robert (September 14, 1969) "Changes Color of Hair" Template:Webarchive. The New York Times, p. D3. Retrieved on July 2, 2008.</ref> Donna Summer, who was in the German production, said that "it was not meant to be sexual. ... We stood naked to comment on the fact that society makes more of nudity than killing."<ref name=StarLedger/>

Hair glorifies sexual freedom in various ways. In addition to acceptance of interracial attraction, the characters' free love lifestyle acts as a sexually and politically charged updating of La bohème; as Rado explained, "The love element of the peace movement was palpable."<ref name=prog2009/> In the song "Sodomy", Woof exhorts everyone to "join the holy orgy Kama Sutra".<ref>Ragni and Rado (Lyricists), MacDermot (Composer), and Steve Curry (Vocalist). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 4, "Sodomy".</ref> Toward the end of Act 2, the tribe members reveal their free love tendencies when they banter about who will sleep with whom that night.<ref name=barnes>Barnes, Clive (April 30, 1968). "Theater: Hair – It's Fresh and Frank; Likable Rock Musical Moves to Broadway" Template:Webarchive, The New York Times, p. 40. Retrieved on April 11, 2008.</ref>

Illegal drugs taken by the characters include a hallucinogen during the trip sequence.<ref name=Applause/> The song "Walking in Space" begins the sequence, declaring "how dare they try to end this beauty ... in this dive we rediscover sensation ... our eyes are open, wide, wide, wide". Similarly, in "Donna", Berger sings, "I'm evolving through the drugs that you put down."<ref>Ragni and Rado (Lyricists), MacDermot (Composer), Hair Original Broadway Cast album, (1968), RCA Victor, at Track 2 "Donna" and Track 26, "Walking in Space".</ref> Generally, the tribe favors hallucinogenic or "mind expanding" drugs, such as LSD and marijuana.<ref name=miller116>Miller, p. 116</ref>

Pacifism and environmentalism

The 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.<ref name=Applause/> Pacifism is explored throughout the extended trip sequence in Act 2. The lyrics to "Three-Five-Zero-Zero", sung during that sequence, evoke the horrors of war ("ripped open by metal explosion").<ref>"Three-Five-Zero-Zero", Hair (1968). RCA Victor, track 28.</ref> The song is based on Allen Ginsberg's 1966 poem "Wichita Vortex Sutra", in which General Maxwell D. 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.<ref name=Applause/> The song also raises the issue of the disproportionate loss and disparate treatment of black servicemen in "decorations, promotion and duty assignments" in the Vietnam War, with the repeated phrase "Prisoners in niggertown/ It's a dirty little war".<ref name=script/><ref>Template:Cite book</ref>

"Don't Put It Down" satirizes the unexamined patriotism of people who are "crazy for the American flag".<ref>Miller, pp. 110–11</ref> "Be In (Hare Krishna)" praises the peace movement and events like the San Francisco and Central Park Be-Ins.<ref>McNeill, Don (March 30, 1967). "Be-In, be-in, Being" Template:Webarchive. The Village Voice, Retrieved on April 17, 2008.</ref> 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".<ref name=script/> The upbeat "Let the Sun Shine In" is a call to action, to reject the darkness of war and change the world for the better.<ref name=Applause/>

Hair also satirizes pollution.<ref name=Applause/> Jeanie appears wearing a gas mask and sings the song "Air": "Welcome, sulfur dioxide. Hello carbon monoxide. The air ... is everywhere", suggesting that pollution will eventually kill her: "vapor and fume at the stone of my tomb, breathing like a sullen perfume".<ref>"Air", Sally Eaton, Shelley Plimpton, Melba Moore (vocalists), (1968), Hair. RCA Victor, track 11</ref> In a comic, pro-green vein, Woof introduces himself by explaining that he "grows things", and Berger weaves nature imagery into the title song.<ref>"Hair", James Rado, Gerome Ragni (1968), Hair. RCA Victor, track 15</ref>

Religion and astrology

Religion, particularly Catholicism, appears both overtly and symbolically throughout the piece and is often the butt of jokes.<ref name=Applause/> Berger sings of looking for "my Donna", giving it the double meaning of a woman he is searching for and the Madonna.<ref name=liner>Davis, Lorrie (1968). Album notes for Hair, RCA Victor, track 4 (CD booklet, pp. 5–6)</ref> 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.<ref name=liner/> Before the song, Woof recites a modified rosary. In Act II, when Berger gives famous figures imaginary pills, he offers "a pill for the Pope".<ref name=script/> 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."<ref>"Going Down", Gerome Ragni (vocalist). (1968), Hair. RCA Victor, track 14</ref> Claude becomes a classic Christ figure at various points.<ref name=miller88>Miller, pp. 88–89</ref> In Act I, he says, "I am the Son of God. I shall vanish and be forgotten", then gives benediction to the tribe and the audience. He suffers from indecision, and, in his Gethsemane at the end of Act I, he asks "Where Do I Go?". The textual alludes to Claude being on a cross, and, in the end, he is chosen to give his life for the others.<ref name=miller88/> Berger is a John the Baptist figure, preparing the way for Claude.<ref name=Applause/>

Excerpt from "Aquarius" Harmony and understanding Sympathy and trust abounding. No more falsehoods or derisions Golden living dreams of visions Mystic crystal revelation And the mind's true liberation. Aquarius

Songs like "Good Morning, Starshine" and "Aquarius" reflect the 1960s cultural interest in astrological and cosmic concepts.<ref>Horn, p. 136</ref> "Aquarius" was written after Rado researched his own astrological sign.<ref name=astrology>"Rapping With Sally Eaton of Hair" Template:Webarchive. Astrology Today, michaelbutler.com. Retrieved on April 11, 2008.</ref> The company's astrologer, Maria Crummere, was consulted about casting:<ref>Curtis, Charlotte (April 30, 1968). "Party Makes It (on the Third Try)" Template:Webarchive. The New York Times, p. 50. Retrieved on April 11, 2008.</ref> Sheila was usually played by a Libra or Capricorn and Berger by a Leo.<ref name=astrology/> Crummere was also consulted on when the show would open on Broadway and in other cities.<ref name=Hairzapoppin>"Hairzapoppin'" Template:Webarchive. Time (December 12, 1969). Retrieved on May 29, 2008.</ref> 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 that Neptune was on the ascendancy foretold that Hair would develop a reputation involving sex.<ref name=dowling>Dowling, Colette (May 1971). "Hair – Trusting the Kids and the Stars" Template:Webarchive. Playbill. Retrieved on June 1, 2008.</ref>

In Mexico, where Crummere did not pick the opening date, the show was closed by the government after one night.<ref name=Hairzapoppin/> She disliked the date of the Boston opening (where the producers were sued over the show's content),<ref name=variety415/><ref name=Bostonlegal/> saying, "Jupiter will be in opposition to naughty Saturn, and the show opens the very day of the sun's eclipse. Terrible".<ref>Prideaux, Tom (April 17, 1970). "That Play Is Sprouting Everywhere" Template:Webarchive. Life, michaelbutler.com. Retrieved on June 7, 2008.</ref>

Literary themes and symbolism

Hair makes many references to Shakespeare's plays and, at times, takes lyrical material directly from Shakespeare.<ref name=Applause/> For example, the lyrics to the song "What a Piece of Work Is Man" are from Hamlet (II: scene 2), and portions of "Flesh Failures" ("the rest is silence") are from Hamlet's final lines. In "Flesh Failures/Let the Sun Shine In", the lyrics "Eyes, look your last!/ Arms, take your last embrace! And lips, O you/ The doors of breath, seal with a righteous kiss" are from Romeo and Juliet (V: iii).<ref>"The Flesh Failures (Let the Sunshine In)" James Rado, Lynn Kellogg, Melba Moore (vocalists) (1968), Hair, RCA Victor, track 32</ref> According to Miller, the Romeo suicide imagery makes the point that, with our complicity in war, we are killing ourselves.<ref name=Applause/> Claude's indecision, especially his resistance to burning his draft card, which ultimately causes his demise, parallels Hamlet, "the melancholy hippie".<ref>Miller, p. 91</ref> This symbolism is carried into the last scene, where Claude appears as a ghostly spirit among his friends wearing an army uniform in an ironic echo of an earlier scene, where he says, "I know what I want to be ... invisible". Public Theater Artistic Director Oskar Eustis said:

Both [Hair and Hamlet] center on idealistic brilliant men as they struggle 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.<ref>"Shakespeare in the Park to present Hamlet and the musical Hair Template:Webarchive. newyorktheatreguide.com (February 7, 2008). Retrieved on April 18, 2008.</ref>

Other literary references include the song "Three-Five-Zero-Zero", based on Ginsberg's "Wichita Vortex Sutra",<ref>Miller, p. 92</ref> 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.<ref name=script/>

Music

File:Piece of work.png

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,<ref name=Applause/> MacDermot incorporated African rhythms into the score of Hair.<ref name=Miller/> 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."<ref name=Miller/> 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".<ref>Miller, p. 54</ref> MacDermot said, "My idea was to make a total funk show. They said they wanted rock & roll—but to me that translated to 'funk'."<ref name=funk>Alapatt, Eothen; Galt MacDermot. "Interview with Galt MacDermot by Eothen "Egon" Alapatt" Template:Webarchive, "Volume 5: Hair and Thangs", November 1, 1999. Retrieved on November 9, 2013.</ref> Funk influence is evident throughout the score, notably in songs like "Colored Spade" and "Walking in Space".<ref name=funk/> But MacDermot said 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".<ref name=prog2009/> The music in Hair varies from the rockabilly sensibilities of "Don't Put it Down" to the folk rock rhythms of "Frank Mills" and "What a Piece of Work is Man" to rhythm and blues in "Easy to Be Hard" and protest rock anthems, such as "Ain't Got No" and "The Flesh Failures". The acid rock of "Walking in Space" and "Aquarius" are balanced by the mainstream pop of "Good Morning Starshine".<ref>Miller, p. 44</ref> Miller ties the music of Hair to the hippies' political themes:

The hippies ... were determined to create art of the people and their chosen art form, rock/folk music was by its definition, populist. ... [T]he hippies' music was often very angry, its anger directed at those who would prostitute the Constitution, who would sell America out, who would betray what America stood for; in other words, directed at their parents and the government.<ref name=Applause/>

The music did not resonate with everyone. Leonard Bernstein said, "the songs are just laundry lists",<ref name= broadway>Berkvist, Robert (May 11, 1969). "He Put Hair on Broadway's Chest". The New York Times, p. D1. Retrieved on May 26, 2008.</ref> and walked out of the production.<ref>Rockwell, John (December 20, 1969). "Long Hair? Can 'the American tribal love-rock musical' be the opera of tomorrow?" Template:Webarchive. Retrieved on May 26, 2008.</ref> Richard Rodgers could hear only the beat and called it "one-third music".<ref name=broadway/> John Fogerty said, "Hair is such a watered-down version of what is really going on that I can't get behind it at all."<ref>"Creedence's Fogerty: Hair Is Not Where It's At..." Template:Webarchive. Billboard (November 14, 1970). Retrieved on April 18, 2008.</ref> For High Fidelity, Gene Lees wrote that John Lennon found the show "dull" and "I do not know any musician who thinks it's good."<ref name=highfidelity>Lees, Gene (July 1969). "hair in Europe" Template:Webarchive. High Fidelity. Retrieved on May 26, 2008.</ref> Theatre historian John Kenrick countered:

[Hair's] explosion of revolutionary proclamations, profanity and hard rock shook the musical theatre to its roots. ... Most people in the theatre business [and] Tony voters tried to ignore Hair's importance, shutting it out from any honors. However, some now insisted it was time for a change. New York Times critic Clive Barnes gushed that Hair was "the first Broadway musical in some time to have the authentic voice of today rather than the day before yesterday."<ref>Kenrick, John. "History of The Musical Stage 1960s: III" Template:Webarchive. musicals101.com. Retrieved on June 9, 2008</ref>

Songs

The score had many more songs than typical Broadway shows of the day.<ref name=Hairstory/> Most had about six to ten songs per act; Hair's total is in the thirties.<ref>[[[:Template:AllMusic]] "Hair (Original Broadway Cast Recording) Track Listing"], allmusic.com. Retrieved on April 11, 2008.</ref> This list reflects the songs most often included during the original Broadway run.<ref name=Miller70>Miller, pp. 70–77</ref>

Template:Col-begin Template:Col-2 Act I

• "Aquarius"  – Tribe and soloist (often Dionne)
• "Donna" – Berger and Tribe
• "Hashish" – Tribe
• "Sodomy" – Woof and Tribe
• "Colored Spade" – Hud, Woof, Berger, Claude and Tribe
• "Manchester England" – Claude and Tribe
• "I'm Black/Ain't Got No" – Woof, Hud, Dionne and Tribe
• "I Believe in Love" – Sheila and Tribe trio
• "Air" – Jeanie with Crissy and Dionne
• "Initials (L.B.J.)" – Tribe
• "I Got Life" – Claude and Tribe
• "Going Down" – Berger and Tribe
• "Hair" – Claude, Berger, and Tribe
• "My Conviction" – Margaret Mead (tourist lady)
• "Easy to Be Hard" – Sheila
• "Don't Put It Down" – Berger, Woof and male Tribe member
• "Frank Mills" – Crissy
• "Be-In (Hare Krishna)" – Tribe
• "Where Do I Go?" – Claude and Tribe

Template:Col-break Act II

• "Electric Blues" – Tribe quartet
• "Black Boys" – Tribe sextet (three male, three female)
• "White Boys" – Tribe Supremes trio
• "Walking in Space" – Tribe
• "Yes, I's Finished/Abie Baby" – Abraham Lincoln and Tribe trio (Hud and two men)
• "Three-Five-Zero-Zero" – Tribe
• "What a Piece of Work Is Man" – Tribe duo
• "Good Morning Starshine" – Sheila and Tribe
• "The Bed" – Tribe
• "Aquarius" (reprise) – Tribe
• "Manchester England" (reprise) – Claude and Tribe
• "Eyes Look Your Last" – Claude and Tribe
• "The Flesh Failures (Let the Sun Shine In)" – Claude, Sheila, Dionne and TribeTemplate:Col-end

The show was under almost perpetual rewrite. Thirteen songs were added between the production at the Public Theater and Broadway.<ref name=Miller70/> Others were cut; "What a piece of work is a man" and "Hashish" were originally spoken but musicalized for Broadway.<ref name=Miller70/> Subsequent productions have included or cut others.<ref name=Miller70/><ref name=HippieLife>Rado, James (July 25, 2007). "New lyrics for 'Hippie Life' song" Template:Webarchive, hairthemusical.com, accessed November 9, 2013</ref><ref>"Production Songs" Template:Webarchive, Internet Broadway Database, accessed July 17, 2009</ref>

Recordings

The first recording in 1967 featured the off-Broadway cast. The original Broadway cast recording received a Grammy Award in 1969 for Best Score from an Original Cast Show Album<ref>"Grammy Awards 1969" Template:Webarchive, AwardsandShows.com, accessed March 6, 2017</ref> and sold nearly 3 million copies in the U.S. by December 1969.<ref name=Hairzapoppin/> It charted at No. 1 on the Billboard 200, the last Broadway cast album to do so (as of 2024), and stayed at No. 1 for 13 weeks in 1969.<ref>Grein, Paul. "Chart Watch: The Hamilton Mixtape Makes History" Template:Webarchive, Yahoo Music, December 12, 2016</ref> The album peaked at number 2 in Australia in 1970.<ref name=aus>Template:Cite book</ref> According to The New York Times, "The cast album of Hair was ... a must-have for the middle classes. Its exotic orange-and-green cover art imprinted itself instantly and indelibly on the psyche. ... [It] became a pop-rock classic [with] an appeal that transcends particular tastes for genre or period."<ref name=isherwooda/> In 2019, the Library of Congress added the original Broadway cast album to the National Recording Registry.<ref>Culwell-Block, Logan. "Hair Original Broadway Cast Album Inducted into Library of Congress' National Recording Registry" Template:Webarchive, Playbill, March 21, 2019</ref>

A 1969 studio album, DisinHAIRited, contains 19 songs written for the show but not included in previous recordings, a few of which were never included in stage productions. Some were cut between the Public and Broadway productions or were left off the original cast albums due to space.<ref name=Miller70/> Productions in England, Germany, France, Sweden, Japan, Israel, the Netherlands, Australia and elsewhere released cast albums,<ref>Links to Hair recordings Template:Webarchive at Castalbums.org</ref> Such broad attention was paid to the recordings of Hair that, after an unprecedented bidding war, ABC Records paid a record amount for MacDermot's next Broadway adaptation, Two Gentlemen of Verona.<ref>"ABC Gets Rights to Verona Album; New Royalty High" Template:Webarchive. Variety (September 22, 1971), michaelbutler.com. Retrieved on May 28, 2008.</ref> The 2009 revival recording debuted at Template:Numero on Billboard's "Top Cast Album" chart and at Template:Numero in the Top 200, making it the highest debuting album in Ghostlight Records history.<ref>"Headlines: New Cast Recording of Tony-Winning Hair Tops Billboard Charts" Template:Webarchive. broadway.com. Retrieved on July 18, 2009.</ref> The 1993 London revival cast album contains new music incorporated into the standard rental version.<ref name=Applause/>Template:Clarify

More than 1,000 performances of individual songs from Hair have been recorded.<ref name=CanEncy/><ref name=Lustig/> The 5th Dimension's release of "Aquarius/Let the Sunshine In" in 1969 won Record of the Year in 1970<ref>"Grammy Awards 1970" Template:Webarchive. Awardsandshows.com. Retrieved on November 9, 2013.</ref> and topped the charts for six weeks. The Cowsills' recording of the title song "Hair" climbed to Template:Numero on the Billboard Hot 100,<ref>[[[:Template:AllMusic]] "The Cowsills, Biography"]. AllMusic. Retrieved on April 11, 2008.</ref> while Oliver's "Good Morning Starshine" reached Template:Numero.<ref>[[[:Template:AllMusic]] "Oliver, Biography"]. AllMusic. Retrieved on April 11, 2008.</ref> Three Dog Night's "Easy to Be Hard" went to Template:Numero.<ref>[[[:Template:AllMusic]] "Three Dog Night, Biography"]. AllMusic. Retrieved on April 11, 2008.</ref> Nina Simone's 1968 medley of "Ain't Got No, I Got Life" reached the top 5 on the UK singles chart.<ref>[[[:Template:AllMusic]] "Nina Simone, Biography"]. AllMusic. Retrieved on April 11, 2008.</ref> ASCAP confirmed that "Aquarius" was the most frequently played song on U.S. radio and television in 1970.<ref>"CAPAC Member's Single Was Most Performed in 1970" Template:Webarchive. Billboard (December 11, 1971). Michaelbutler.com. Retrieved on May 29, 2008.</ref> Among other artists recording Hair songs<ref>Holleman, John. "Hair Songs by non-Hair artists" Template:Webarchive. Hair for the Record: A discography compiled by John Holleman. Retrieved on May 30, 2008.</ref> are Shirley Bassey, Barbra Streisand and Diana Ross.<ref>"Hair Tunes Sprayed With Cuts" Template:Webarchive. Billboard (March 22, 1969). michaelbutler.com. Retrieved on May 28, 2008.</ref> "Good Morning Starshine" was sung on a 1969 episode of Sesame Street by Bob McGrath,<ref>"Sesame Street" Template:Webarchive. Sesame Street. PBS. 1969. Retrieved on July 15, 2008.</ref> and versions have been recorded by artists such as Sarah Brightman, Petula Clark and Strawberry Alarm Clock.<ref>Template:Cite web</ref> Liza Minnelli and The Lemonheads recorded "Frank Mills",<ref>Template:Cite web</ref> and Andrea McArdle, Jennifer Warnes and Sérgio Mendes each made versions of "Easy to Be Hard".<ref>Template:Cite web</ref> Run DMC sampled "Where Do I Go" on its 1993 single "Down with the King", which went to Template:Numero on the Billboard rap chart and reached the top 25 in the Billboard Hot 100 chart.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> Hair helped launch the recording careers of Meat Loaf, Dobie Gray, Jennifer Warnes, Jobriath, Bert Sommer, Ronnie Dyson, Donna Summer and Melba Moore.<ref name=billboard670/> In 2004 "Aquarius", from the 1979 film version, was number 33 on AFI's 100 Years ... 100 Songs.<ref>Template:Cite web</ref>

Early critical reception

Reception of HairTemplate:'s Broadway premiere was overwhelmingly positive. Clive Barnes wrote in The New York Times: "I think it is simply that it is so likable. So new, so fresh, and so unassuming, even in its pretensions."<ref name=barnes/> 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".<ref>O'Connor, John (May 1, 1968). "The Theater: Hair" Template:Webarchive, The Wall Street Journal, michaelbutler.com. Retrieved on April 16, 2008.</ref> 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."<ref>Watts Jr., Richard (April 30, 1968). "Two On The Aisle – Broadway Theater Review – Music of the American Tribe" Template:Webarchive. New York Post, michaelbutler.com. Retrieved on April 16, 2008.</ref> Allan Jeffreys of ABC TV said the actors were "the most talented hippies you'll ever see ... directed in a wonderfully wild fashion by Tom O'Horgan."<ref>Jeffries, Allan (Critic). (April 29, 1968). "Review of Hair" Template:Webarchive (Transcription) [Television production]. New York City: WABC-TV. Retrieved on April 18, 2008.</ref> Leonard Probst of NBC said "Hair is the only new concept in musicals on Broadway in years and it's more fun than any other this season".<ref>Probst, Leonard (Critic). (April 29, 1968). "Review of Hair" Template:Webarchive (Transcription) [Television production]. New York City: WNBC-TV. Retrieved on April 18, 2008.</ref> John Wingate of WOR TV praised MacDermot's "dynamic score" that "blasts and soars",<ref>Wingate, John (Critic). (April 30, 1968). "Review of Hair" Template:Webarchive (Transcription) [Television program]. New York City: WOR-TV. Retrieved on April 18, 2008.</ref> and Len Harris of CBS said "I've finally found the best musical of the Broadway season ... it's that sloppy, vulgar, terrific tribal love rock musical Hair."<ref>Harris, Len (Critic). (April 29, 2008). "Review of Hair" Template:Webarchive (Transcription) [Television program]. New York City: WCBS-TV. Retrieved on April 18, 2008.</ref>

A dissenting review in Variety called the show "loony" and "without a story, form, music, dancing, beauty or artistry. ... It's impossible to tell whether [the cast has] talent. Maybe talent is irrelevant in this new kind of show business."<ref>Broadway Review Template:Webarchive. Variety (michaelbutler.com). May 1, 1968. Retrieved on April 18, 2008.</ref> In Newsweek, Jack Kroll wrote, "There is no denying the sheer kinetic drive of this new Hair ... there is something hard, grabby, slightly corrupt about O'Horgan's virtuosity, like Busby Berkeley gone bitchy."<ref>Kroll, Jack (May 13, 1968). "Hairpiece" Template:Webarchive. Newsweek (michaelbutler.com). Retrieved on April 18, 2008.</ref> A Time critic wrote that although the show "thrums with vitality, [it is] crippled by being a bookless musical and, like a boneless fish, it drifts when it should swim."<ref>"Hair" Template:Webarchive. Time. May 10, 1968. Retrieved on April 18, 2008.</ref>

When Hair opened in London, critic Irving Wardle of The Times wrote, "Its honesty and passion give it the quality of a true theatrical celebration—the joyous sound of a group of people telling the world exactly what they feel." In the Financial Times, B. A. Young wrote that Hair was "not only a wildly enjoyable evening, but a thoroughly moral one." In his final review before retiring, 78-year-old W. A. Darlington of The Daily Telegraph wrote that he had "tried hard" but found the evening "a complete bore—noisy, ugly and quite desperately funny".<ref name=london/> Of such critiques, Miller wrote in 2001, "some people can't see past the appearance of chaos and randomness to the brilliant construction and sophisticated imagery underneath",<ref name=Applause/> adding, "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 [and] of traditional theatre."<ref name=Applause/>

Social change

Excerpts from the title song "Hair" I let it fly in the breeze and get caught in the trees, Give a home to the fleas in my hair. A home for fleas, a hive for bees A nest for birds, there ain't no words For the beauty, the splendor, the wonder of my Hair. ... Flow it, show it, long as God can grow it, my hair. ... Oh say, can you see my eyes? If you can Then my hair's too short. ... They'll be ga ga at the Go Go when they see me in my toga, My toga made of blond, brilliantined, biblical hair. My hair like Jesus wore it, Hallelujah, I adore it. ...

Hair challenged many of the norms of Western society in 1968. The name itself was a reaction to the restrictions of civilization and consumerism and a preference for naturalism.<ref>Pola Rapaport (Director) and Wolfgang Held (Director). (July 24, 2007). Hair: Let the Sunshine In. [Documentary]. Blinding Light Inc., Institut National de l'Audiovisuel (INA), arte. Retrieved on May 26, 2008.</ref> Rado recalled that long hair "was a visible form of awareness in the consciousness expansion. The longer the hair got, the more expansive the mind was. Long hair was shocking, and it was a revolutionary act to grow long hair. It was kind of a flag, really."<ref name=Courant>Rizzo, Frank (August 31, 2008). "Hair: Reviving the Revolution" Template:Webarchive. Hartford Courant, courant.com. Retrieved on November 9, 2013 (subscription required)</ref>

The musical caused controversy. It was the first time a Broadway show had seen totally naked performers,<ref name=Horn87/> and the show was charged with the desecration of the American flag and the use of obscene language.<ref name=Taylor/><ref>"Desecration of Flag Ires Hub More Than The Nudity In Hair Template:Webarchive". Variety (michaelbutler.com). February 25, 1970. Retrieved on April 16, 2008.</ref> These controversies, and the anti-Vietnam War theme, attracted occasional threats and violence during the show's early years and became the basis for legal actions. Two cases eventually reached the U.S. Supreme Court.<ref>Leib, Howard. "Hair", Free Speech Center, Middle Tennessee State University, January 1, 2009</ref> In Indiana cities, the producers were either refused booking, had difficulty securing a theater,<ref name=variety624>"Hair Ruffles Officials In Ind'p'ls; South Bend Nix, Evansville Maybe Template:Webarchive". Variety (michaelbutler.com). June 26, 1968. Retrieved on June 6, 2008.</ref> or the production was picketed by church groups.<ref>"Baptists Hit Use of County Aud for Hair Two Nighter" Template:Webarchive. Variety (michaelbutler.com). August 5, 1970. Retrieved on June 6, 2008.</ref> Productions in the U.S. were frequently confronted with the closure of theaters by the fire marshal.<ref>"Fire Marshall Nixes It Template:Webarchive". Variety (michaelbutler.com). December 1, 1971. Retrieved on June 6, 2008.</ref> Chattanooga's 1972 refusal to allow Hair to play at the city-owned Memorial Auditorium<ref>Warren, William (April 5, 1972). "Attorney for "Hair" Irks Judge With Comments on Scopes Trial Template:Webarchive". Chattanooga Times (michaelbutler.com). Retrieved on April 11, 2008.</ref><ref>"Supreme Court: Letting the Sun Shine In Template:Webarchive". Newsweek (michaelbutler.com). March 31, 1975. Retrieved on April 11, 2008.</ref> was later found by the Supreme Court to be an unlawful prior restraint.<ref>Southeastern Promotions, LTD v. Conrad, 420 U.S. 546 (U.S. Supreme Court 1975).</ref>

Legal challenges against the Boston production were appealed to the U.S. Supreme Court.<ref>"Desecration of Flag Ires Hub More Than the Nudity in Hair Template:Webarchive. Variety (michaelbutler.com). February 25, 1970. Retrieved on June 6, 2008.</ref> The Chief of the Licensing Bureau said, "anyone who desecrates the flag should be whipped on Boston Common."<ref name=variety415>Livingston, Guy (April 15, 1970). "Nudity and Flag "Desecration" Figure In Appeal Against Hair Foldo in Hub Template:Webarchive". Variety (michaelbutler.com). Retrieved on April 11, 2008.</ref> Although the scene was removed before opening, the District Attorney alleged that "lewd and lascivious" actions were taking place onstage. Hair obtained an injunction from the Superior Court against criminal prosecution,<ref>"Gerald Berlin and Defending Hair Template:Webarchive". michaelbutler.com. Retrieved on June 6, 2008.</ref> and the D.A. appealed to the Massachusetts Supreme Judicial Court. At the request of both parties, several of the justices viewed the production; the court ruled that "the cast [must] be clothed to a reasonable extent." The cast defiantly played the scene nude later that night, saying the ruling was vague about when it took effect.<ref name=variety415/> The next day, the production closed. After a 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 reversal, allowing Hair to reopen.<ref name=Bostonlegal>"Supreme Court Clears Hair for Boston Run Template:Webarchive". The New York Times: p. 26. May 23, 1970. Retrieved on April 11, 2008.</ref>

A 1969 Acapulco, Mexico, production played for one night.<ref name=Horn103/> The theater, across the street from a popular bordello, was padlocked by the government, which called the production "detrimental to the morals of youth".<ref name=dowling/> The cast was arrested and agreed to leave the country, but because of legal complications they went into hiding.<ref name=johnson43>Johnson, p. 43</ref> They were expelled from Mexico days later.<ref>"Mexico Shuts Hair and Expels Its Cast After One Showing", The New York Times, p. 35. January 6, 1969. Retrieved on April 11, 2008.Template:Subscription required Template:Webarchive</ref><ref>Monsiváis, Carlos. "Con címbalos de Júbilo", Dias de Guardar, pp. 20–27 (1970), Ediciones Era: Mexico, accessed October 14, 2014 Template:ISBN (Spanish language)</ref> In Bergen, Norway, citizens formed a human barricade to try to prevent the performance.<ref name=Horn103/> In St. Paul, Minnesota, a protesting clergyman released mice in the lobby, hoping to frighten the audience.<ref name=Horn100/> Jim Lovell and Jack Swigert, after naming Apollo 13's lunar module "Aquarius" after the song, walked out of the production at the Biltmore in protest of perceived anti-Americanism and disrespect of the flag.<ref>Green, Abel (June 18, 1970). "L'Affaire Hair and the Astronauts Who Walked Out; Slur to the Flag Template:Webarchive". Variety Retrieved on July 3, 2008.</ref> In April 1971, a bomb was thrown at Hair's theater in Cleveland, Ohio, bouncing off the marquee; the blast shattered windows in the building and nearby storefronts.<ref>"Bomb Thrown at Theater Template:Webarchive". The New York Times: p. 24. April 26, 1971. Retrieved on April 11, 2008.</ref> The same month, the families of a cast member and the stage manager died in a fire in the Cleveland hotel where members of the show's troupe were staying.<ref>Johnson, pp. 125–26</ref><ref>"Cleveland Fire Kills 4 in Hair Family Template:Webarchive". Variety (michaelbutler.com). April 20, 1971. Retrieved on April 11, 2008.</ref> The Sydney, Australia, production's opening night was interrupted by a bomb scare in 1969.<ref>"Bomb Scare at "Hair" Template:Webarchive". Sydney Daily Telegraph (michaelbutler.com). June 6, 1969. Retrieved on April 11, 2008.</ref>

Hair effectively marked the end of stage censorship in the United Kingdom.<ref name=london>Lewis, Anthony (September 29, 1968). "Londoners Cool to Hair's Nudity; Four-Letter Words Shock Few at Musical's Debut Template:Webarchive". The New York Times: p. 76. Retrieved on April 11, 2008.</ref> London's stage censor, the Lord Chamberlain, refused to license the musical, and the opening was delayed until Parliament passed a bill stripping his licensing power.<ref name=london/> San Francisco's large hippie population considered the show an extension of their street activities, blurring the barrier between art and life by frequently meditating with the cast and joining them onstage during the show.<ref name=Horn100/> 18-year-old Princess Anne danced onstage in London.<ref>"Princess Anne Dances On Stage During Hair Template:Webarchive". The New York Times: p. 16. April 16, 1969. Retrieved on July 3, 2008.</ref> In Munich, authorities threatened to close the production if the nude scene remained, but after a Hair spokesman said his relatives had been marched nude into Auschwitz, the authorities relented.<ref name=Horn103/> The Paris production encountered little controversy, nudity being common onstage in Paris.<ref>Curtis, Thomas Quinn. "Translated Hair Cheered in Paris; Title Lends Itself to Jest at Candidate's Expense Template:Webarchive". The New York Times: pp. 53. Retrieved on June 5, 2008.</ref> But even in Paris there was occasional opposition, as when a member of the Salvation Army used a portable loudspeaker to exhort the audience to halt the presentation.<ref name=Horn103/><ref>Hess, John L. (February 2, 1970). "Salvation Army Jousts With Hair in Paris; A Counterattack by Religious Troops Draws Crowds Template:Webarchive". The New York Times: pp. 14. Retrieved on June 5, 2008.</ref>

Subsequent productions

1970s to 1990s

The first college production took place in 1970 at Memphis State University, Tennessee, directed by Keith Kennedy.<ref>Fletcher, Tierney. "Former theatre chair is set to introduce 'A Hair-Raising Performance'" Template:Webarchive, The Daily Helmsman, November 16, 2021</ref><ref>Davis, Chris."Final Stages" Template:Webarchive, Memphis Flyer, January 29, 2009, accessed June 21, 2023</ref> The cast participated in the Atlanta International Pop Festival in 1970.<ref>"Festival Tour of Memphis State University cast of Hair" Template:Webarchive, Festivival.com, accessed June 21, 2023</ref> WMC-TV produced a 1971 documentary chronicling the production.<ref>"Face to Face: When Hair Came to Memphis" Template:Webarchive, Paley Center for Media, accessed June 21, 2023</ref>

In 1977, a Broadway revival of Hair produced by Michael Butler and directed by O'Horgan ran for 43 performances at the Biltmore Theater. The cast included Ellen Foley, Annie Golden, Loretta Devine, Cleavant Derricks and Kristen Vigard.<ref>"Hair, the American Tribal Love Rock Musical Template:Webarchive". ibdb.com. Retrieved on May 7, 2015</ref> Reviews were generally negative, and critics accused the musical of "showing its gray".<ref>Eder, Richard (October 6, 1977). "Stage: Revived Hair Shows Its Gray Template:Webarchive", The New York Times, p. 90. Retrieved on April 11, 2008.</ref> A 1985 production in Montreal was reportedly the 70th professional production.<ref name=CanEncy/> A 20th-anniversary benefit concert was held in May 1988 at the United Nations General Assembly.<ref>Brozan, Nadine (May 28, 1988). "Nostalgia in the Air as Hair Comes to UN to Fight AIDS". The New York Times. Retrieved April 16, 2008.</ref> The event was sponsored by First Lady Nancy Reagan and introduced by Barbara Walters.<ref name=Horn118>Horn, pp. 118–20</ref> Rado, Ragni and MacDermot reunited to write nine new songs for the concert. The cast of 163 included former stars from productions around the globe, Moore, Vereen, Williams and 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.<ref name=Horn118/> In November 1988, Butler produced Hair at Chicago's Vic Theater. The production was well received and ran until February 1989.<ref name=Horn118/>

From 1990 to 1991, Pink Lace Productions ran a U.S. national tour of Hair.<ref name=Horn118/> A 1990 "bus and truck" production toured Europe for over 3 years.<ref name=WashTimes>Gowan, Anne (March 6, 1994). "Hair Today" Template:Webarchive. The Washington Times (michaelbutler.com). Retrieved April 11, 2008</ref> Even 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.<ref name=CanEncy/> Rado directed a US national 25th-anniversary tour in 1994 featuring actor Luther Creek; MacDermot returned to oversee the music.<ref name=WashTimes/> Rado also directed various European productions from 1995 to 1999.<ref name=HippieLife/> A production ran in Australia in 1992,<ref>Ruhlmann, William. [[[:Template:AllMusic]] "Hair (1992 Australian Cast)"]. AllMusic. Retrieved on August 22, 2009.</ref> and a London revival starring John Barrowman and Paul Hipp opened at the Old Vic in 1993, directed by Michael Bogdanov.<ref>"Hair (London Revival, 1993) Template:Webarchive", broadwayworld.com. Retrieved on August 22, 2009</ref><ref>Shenton, Mark. "Broadway's Hair to Let It All Hang Out at West End's Gielgud Theatre" Template:Webarchive, Playbill, November 12, 2009</ref> A Guardian review suggested that its failure stemmed from a cast of "Thatcher's children who didn't really get it".<ref>Garfield, Simon (September 4, 2005). "Hair restorer". The Guardian (arts.guardian.co.uk). Retrieved August 22, 2009.</ref> South African productions began only after the eradication of apartheid.<ref name=INTL/> In 1996, Butler staged a revival in Chicago, concurrent with the 1996 Democratic National Convention, echoing the last time the DNC was in Chicago: 1968.<ref>Burghardt, William (August 1996). "Butler brings Hair back for convention" Template:Webarchive". Copley News Service (michaelbutler.com). Retrieved April 12, 2008.</ref> A 30th-anniversary Off-off Broadway production was staged at Third Eye Repertory, directed by Shawn Rozsa.<ref>McGrath, Sean. "Last Chance: Third Eye's Hair Closes March 21" Template:Webarchive, Playbill, March 19, 1998, accessed May 16, 2011</ref>

2000s and 2010s

In 2001, 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.<ref>Template:Cite news</ref> Encores! presented a 2001 production at City Center, starring Luther Creek, Idina Menzel and Tom Plotkin, with MacDermot playing the keyboards.<ref>Kuchwara, Michael. "The return of a remarkable musical time capsule from a turbulent period of protest" Template:Webarchive, Associated Press, May 4, 2001, accessed April 11, 2008</ref> An Actors' Fund benefit of the show was performed for one night at the New Amsterdam Theater in New York City in 2004.<ref>Gans, Andrew. "Hair Grows Longer; More Names Added to All-Star Benefit Concert" Template:Webarchive, Playbill, September 7, 2004, accessed July 8, 2017</ref>

In 2005, a London production opened at the Gate Theatre, directed by Daniel Kramer. Rado approved an updating of the musical's script to place it in the context of the Iraq War.<ref>Inverne, James. "Updated Hair Opens at London's Gate Theatre Sept. 22" Template:Webarchive, Playbill, September 22, 2005, accessed April 11, 2008</ref> In Kramer's modernized interpretation, the nudity called to mind images from Abu Ghraib.<ref>Wolf, Matt. Hair Template:Webarchive, Variety, October 2, 2005, accessed April 18, 2008</ref> In 2006, Rado collaborated with director Robert Prior on a CanStage production in Toronto.<ref>Rado, James. "Hair in Toronto" Template:Webarchive, Journal: Words from Jim, hairthemusical.com, March 24, 2006, accessed July 9, 2017</ref> A revival produced by Pieter Toerien toured South Africa in 2007, directed by Paul Warwick Griffin.<ref>Hair playbill, Johannesburg, 2007</ref> From September to December 2007, Hair ran at the MET Theatre in Los Angeles, produced by Butler and directed and choreographed by Bo Crowell, with musical direction by Christian Nesmith.<ref>Template:Cite web</ref><ref>Template:Cite news</ref> It won the LA Weekly Theater Award for Musical of the Year.<ref>Template:Cite news</ref>

Template:Quote box For three nights in September 2007, Joe's Pub and the Public Theater presented a 40th-anniversary production at the Delacorte Theater in Central Park. This concert version, directed by Diane Paulus, featured MacDermot on keyboards and starred Jonathan Groff as Claude, Karen Olivo as Sheila and Will Swenson as Berger.<ref>Template:Cite news</ref> Actors from the original Broadway production joined the cast onstage during the encore of "Let the Sun Shine In". Demand for the show was extraordinary.<ref>Template:Cite news</ref> The Public presented a fully staged production of Hair at the Delacorte from July to September 2008.<ref>Template:Cite news</ref> Paulus again directed, with choreography by Karole Armitage. Groff and Swenson returned as Claude and Berger, with others from the concert cast.<ref>Template:Cite news</ref> Caren Lyn Manuel played Sheila, and Christopher J. Hanke replaced Groff as Claude on August 17.<ref>Hetrick, Adam (August 4, 2008). "Hanke to Succeed Groff in Central Park Hair Template:Webarchive", Playbill. Retrieved on August 4, 2008.</ref> Reviews were generally positive, with Ben Brantley of The New York Times writing, "this production establishes the show as more than a vivacious period piece".<ref>Template:Cite news</ref> Time magazine wrote: "Hair ... has been reinvigorated and reclaimed as one of the great milestones in musical-theatre history. ... Today Hair seems, if anything, more daring than ever."<ref name=daring/>

2009 Broadway revival and 2010 U.S. national tour

The Public Theater production transferred to Broadway at the Al Hirschfeld Theatre, beginning previews on 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.<ref>Blank, Matthew. "Photo Call: The Cast of Hair Meets the Press", Template:Webarchive Playbill, February 3, 2009. Retrieved on March 6, 2009</ref> The opening cast included Gavin Creel as Claude, Swenson as Berger, Caissie Levy as Sheila, Megan Lawrence as Mother and Sasha Allen as Dionne.<ref>Cast bios Template:Webarchive, 2009 Hair website, Retrieved on March 5, 2009</ref> Designers included Scott Pask (sets), Michael McDonald (costumes), Kevin Adams (lighting), and Acme Sound Partners (sound).<ref>"Swenson, Lawrence, Ryness, Levy and Allen Complete Cast of Broadway's Hair" Template:Webarchive, Playbill, January 29, 2009, Retrieved on January 29, 2009</ref> Critical response was almost uniformly positive.<ref>Survey of NY theatre reviews of Hair Template:Webarchive at Critic-o-meter, April 1, 2009</ref> The New York Daily News praised the direction, "colorfully kinetic" choreography and technical features, writing, "as a smile-inducing celebration of life and freedom, [Hair is] highly communicable" and warning: "If you're seated on the aisle, count on [the cast] to be in your face or your lap".<ref>Dziemianowicz, Joe. "Hair Revival's High Fun", Template:Webarchive Daily News, April 1, 2009, accessed 4/2/09</ref> The New York Post wrote of the "triumphant" production: 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."<ref>Vincentelli, Elisabeth. "An Amazing Hair Day", Template:Webarchive New York Post, April 1, 2009, accessed 4/2/09</ref> Variety enthused, "Paulus and her prodigiously talented cast ... cut right to the 1967 rock musical's heart, generating tremendous energy. ... If this explosive production doesn't stir something in you ... check your pulse."<ref>Rooney, David. Variety Template:Webarchive, March 31, 2009, accessed 4/2/09</ref> The Boston Globe dissented, saying the revival "felt canned" and "overblown" and "feels unbearably naive and unforgivably glib".<ref>Kennedy, Louise. "Innocence, spontaneity lost in Hair revival", Template:Webarchive The Boston Globe, April 1, 2009, accessed 4/2/09</ref> Ben Brantley, writing for The New York Times, reflected the majority:

The Public Theater struggled to raise the budget for the Broadway transfer. Paulus helped keep costs low by using an inexpensive set, and the show sold well.<ref>Healy, Patrick. "Producers Relieved Over Future of Hair Template:Webarchive, The New York Times, April 13, 2009</ref> 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.<ref>Template:Cite episode</ref> The production won the Tony Award for Best Revival of a Musical<ref>"2009 Tony Award Winners", Template:Webarchive The New York Times, May 4, 2009, updated June 7, 2009</ref> and the Drama Desk Award for Outstanding Revival of a Musical.<ref>"Billy Elliot Wins 10 Drama Desk Awards; Ruined Named Best Play" Template:Webarchive, broadway.com, May 18, 2009</ref> By August, the revival had recouped its $5,760,000 investment, becoming one of the fastest-recouping musicals in Broadway history.<ref>"HAIR Recoups Investment On Broadway", Template:Webarchive Playbill, August 7, 2009</ref> Its cast album was nominated for the 2010 Grammy Award for Best Musical Show Album.<ref name=TourMarch>"Review Roundup: HAIR National Tour" Template:Webarchive. BroadwayWorld.com, March 10, 2011</ref> 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 Ace Young as Berger, Diana DeGarmo as Sheila, Kyle Riabko as Claude, Annaleigh Ashford as Jeanie and Vanessa Ray as Chrissie. Rachel Bay Jones later played Mother and other roles.<ref>Hetrick, Adam. "Broadway's Hair Welcomes DeGarmo, Young, Riabko and Bayardelle March 9" Template:Webarchive. Playbill.com, March 9, 2010. Retrieved April 7, 2010; Hair (replacements 2009) Template:Webarchive, Internet Broadway Database, accessed October 22, 2017</ref> Sales decreased, and the revival closed on June 27, 2010, after 29 previews and 519 regular performances.<ref>Fullerton, Krissie. "Photo Call: Hair Closes on Broadway" Template:Webarchive. Playbill.com, June 28, 2010</ref><ref>"Broadway Revival of Hair to Close on June 27" Template:Webarchive. Broadway.com, June 9, 2010</ref>

A U.S. national tour of the production began on October 21, 2010, starring Steel Burkhardt as Berger, Paris Remillard as Claude and Caren Lyn Tackett as Sheila.<ref>"Sheik, Burkhardt et al. Set for Hair Tour; Full Cast Announced!" Template:Webarchive, Broadwayworld.com, September 30, 2010, accessed October 6, 2010</ref> The tour received mostly positive reviews.<ref name=TourMarch/> The show returned to Broadway at the St. James Theatre from July 5 to September 10, 2011. After that, the tour resumed,<ref>"Hair Is Coming Back to Broadway Template:Webarchive. Broadwayworld.com, April 13, 2011</ref> ending on January 29, 2012.<ref>Hetrick, Adam. "'Where Do I Go?': Hair First National Tour Will Conclude Jan. 29" Template:Webarchive, Playbill, January 12, 2012</ref>

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, but Luther Creek played Woof.<ref>Hetrick, Adam. "Across the Atlantic Sea" Template:Webarchive. Playbill, April 1, 2010, Retrieved April 7, 2010</ref><ref>Itzkoff, Dave. "Hair Extends From Broadway to London" Template:Webarchive. The New York Times, November 17, 2009</ref> The revival closed on September 4, 2010.<ref>Shenton, Mark. "West End Edition of Broadway's Hair to Shutter Sept. 4" Template:Webarchive, Playbill, May 28, 2010</ref>

A review by 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."<ref>Billington, Michael. Hair (review) Template:Webarchive. The Guardian, April 14, 2010, retrieved April 14, 2010</ref> Charles Spencer in The Daily Telegraph agreed: "This is a timely and irresistibly vital revival of the greatest of all rock musicals."<ref>Spencer, Charles. Hair at the Gielgud Theatre Template:Webarchive. Daily Telegraph, April 14, 2010, retrieved April 14, 2010</ref> 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".<ref>Coveney, Michael. Hair, Gielgud Theatre, London Template:Webarchive. The Independent, April 14, 2010, retrieved April 14, 2010</ref> In The Times, Benedict Nightingale commented that "it's exhilarating, as well as oddly poignant, when a multihued cast ... race downstage while delivering that tuneful salute to an age of Aquarius that still refuses to dawn."<ref>Nightingale, Benedict. "Hair at the Gielgud" Template:Webarchive, The Times, April 14, 2010, retrieved April 14, 2010</ref>

2014–present

In August 2014, Hair returned for a three-night engagement at the Hollywood Bowl. Directed by Adam Shankman, the cast included Kristen Bell as Sheila, Hunter Parrish as Claude, Benjamin Walker as Berger, Amber Riley as Dionne, Jenna Ushkowitz as Jeanie, Sarah Hyland as Crissy, Mario as Hud, and Beverly D'Angelo and Kevin Chamberlin as Claude's parents.<ref>Verini, Bob. "L.A. Theater Review: Hair at the Hollywood Bowl" Template:Webarchive, Variety, August 2, 2014</ref>

A 2016 production in Manchester, England, at the Hope Mill Theatre, directed by Jonathan O'Boyle, starring Robert Metson as Claude, Laura Johnson as Sheila and Ryan Anderson as Berger, earned positive reviews.<ref>Shenton, Mark. "Hair review at Hope Mill Theatre, Manchester – 'a natural high'" Template:Webarchive, The Stage, November 16, 2016</ref> In 2017, the musical's 50th anniversary, the staging was repeated Off West End at The Vaults theatre in London, with Metson and Johnson repeating their roles and Andy Coxon as Berger.<ref>Shenton, Mark. "Review – Hair at The Vaults" Template:Webarchive, London Theatre, October 11, 2017</ref> The production won the WhatsOnStage Award for Best Off-West End Production.<ref>Wood, Alex. "Hair UK tour announced" Template:Webarchive, WhatsOnStage.com, October 2, 2018</ref> A UK national tour of the production began in March 2019, starring Jake Quickenden as Berger, Daisy Wood-Davis as Sheila, Paul Wilkins as Claude and Marcus Collins as Hud.<ref>Downes, Charlotte. "BWW Review: Hair, New Wimbledon Theatre" Template:Webarchive, BroadwayWorld.com, March 29, 2019</ref>

International success

Hair in Norway, 2011

Hair has been performed in most countries.<ref name = INTL/> 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, when Phil Alden Robinson visited in 1996 and discovered a production of Hair there in the midst of the war).<ref name=INTL>Template:Cite web</ref> In 1999, Butler and director Bo Crowell helped produce Hair in Russia at the Stas Namin Theatre in Moscow's Gorky Park. The production caused a similar reaction as the original did 30 years earlier because Russian soldiers were fighting in Chechnya at the time.<ref>Hair 40th Anniversary Be-In program, New York, May 3, 2008</ref><ref>Template:Cite web</ref>

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."<ref name = INTL/> Since then, an Indian production has been mounted.<ref>Dixit, Pranav. "The Age of Aquarius" Template:Webarchive. Hindustan Times, February 19, 2011, retrieved May 12, 2011</ref>

Adaptations

Film

Template:Main A musical film adaptation was released in 1979. Directed by Miloš Forman with choreography by Twyla Tharp and a screenplay by Michael Weller, the film stars John Savage, Treat Williams and Beverly D'Angelo, with Golden, Moore, Dyson, Foley, Dorsey Wright, Don Dacus, Nell Carter and Cheryl Barnes. It was nominated for two Golden Globes: Best Motion Picture – Musical or Comedy, and New Star of the Year in a Motion Picture (for Williams), and Forman was nominated for a César Award.<ref name="Horn, pp. 117–18">Horn, pp. 117–18</ref>

Several songs were deleted, and the film's more conventionally romantic storyline departs greatly from the musical. Claude is rewritten as an innocent draftee from Oklahoma, newly arrived in New York to join the military, and Sheila is a high-society debutante who catches his eye. The friendly tribe adopts the farm boy in Central Park and, led by Berger, tries to facilitate the romance. During Claude's basic training, they bring Sheila for a tryst with Claude, substituting Berger in his barracks wearing Claude's dogtags. A mistake leads Berger to be taken to Vietnam in Claude's place, where he is killed.<ref>Weller, Michael. Hair (screenplay), March 14, 1979, United Artists</ref> While the film received generally positive reviews, Ragni and Rado said its comic portrayal of the tribe failed to capture the essence of Hair by portraying hippies as "oddballs" without any connection to the peace movement.<ref name="Horn, pp. 117–18"/>

Popular culture

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

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."<ref name=isherwooda/> Songs from the musical have been featured in films and television episodes. For example, in the 2005 film Charlie and the Chocolate Factory, the character Willy Wonka welcomed the children with lyrics from "Good Morning Starshine".<ref>Zacharek, Stephanie. "Charlie and the Chocolate Factory", Salon, July 15, 2005</ref> "Aquarius" was performed in the final episode of Laverne and Shirley in 1983, where the character Carmine moves to New York City and auditions for Hair.<ref>"Here Today, Hair Tomorrow Episode Recap", Season 8, Episode 22, TV.com, accessed October 1, 2010</ref> "Aquarius/Let the Sun Shine In" was also performed in the final scene in the film The 40-Year-Old Virgin,<ref name=Lustig>Lustig, Jay. "Hair: 20 covers by pop and rock artists of songs from the musical", NJ Arts, October 15, 2023</ref> and Three Dog Night's recording of "Easy to Be Hard" was featured in David Fincher's film Zodiac.<ref>Verniere, James. "Zodiac: A chilling sign of the times", MetroWest Daily News, February 28, 2007</ref> On The Simpsons episode "The Springfield Files", townspeople sing "Good Morning Starshine".<ref>Template:Cite episode</ref> The episode "Hairography" of Glee includes a mash-up of the songs "Hair" and "Crazy in Love" by Beyoncé.<ref>Flandez, Raymund. "Glee Season 1, Episode 11 'Hairography': TV Recap" Template:Webarchive The Wall Street Journal, November 26, 2009, accessed December 5, 2012</ref> Head of the Class featured a two-part episode in 1990, titled "Hair to Eternity", in which the head of the English department is determined to disrupt the school's performance of Hair.<ref>"Head of the Class Season 4 Episodes", TV Guide. Retrieved September 14, 2024</ref>

Hair continues to be a popular choice for high-school, university,<ref name=CanEncy/> and amateur productions.<ref>Template:Cite web</ref> In 2002, Peter Jennings featured a Boulder, Colorado, high-school production in his ABC documentary series In Search of America.<ref>Template:Cite episode</ref> A 2006 community theater production in Red Bank, New Jersey, was singled out by Butler as "one of the best Hairs I have seen in a long time."<ref>Template:Cite web</ref> A production by Mountain Play ran at the 4,000-seat Cushing Memorial Amphitheatre in Mount Tamalpais State Park in Mill Valley, California, in 2007.<ref>Harlib, Leslie. "Mountain Play's Hair will be a flower power flashback" Template:Webarchive. San Jose Mercury News, May 16, 2007, retrieved May 30, 2010</ref>

Legacy

Hair was Broadway's "first fully realized" concept musical, a form that dominated the musical theatre of the seventies.<ref name=horn127>Horn, pp. 127–29</ref> While the development of the concept musical was an unexpected consequence of HairTemplate:'s tenure on Broadway, the expected rock music revolution on Broadway turned out to be less than complete.<ref name=horn127/>

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.<ref name=horn131>Horn, pp. 131–32</ref> 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".<ref name=horn131/> By the late 1970s, the genre had played itself out.<ref name=horn131/> Audience tastes in the 1980s turned to megamusicals with pop scores.<ref>Wollman, pp. 121–123</ref> 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: "No major rock musician ever did a rock score for Broadway. ... Tommy ... was never conceived as a Broadway show. ... And one can see why. There's so much more money in records and rock concerts."<ref name=horn131/><ref>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, George. "Spider-Man musical opens: What critics said". [1]. ABClocal-KABC, June 14, 2011.</ref> The continued popularity of Hair in the 21st century is seen in its number ten ranking in a 2006 BBC Radio 2 listener poll of the "[United Kingdom]'s Number One Essential Musicals".<ref>Template:Cite web</ref>

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 Assembly of Youth.<ref name=Teltsch1>Teltsch, Kathleen. "Youth Assembly Finds an Angel on Broadway". Template:Webarchive, The New York Times, May 19, 1970. Retrieved on November 9, 2013</ref> The Assembly enabled 750 young representatives from around the world to meet in New York in July 1970 to discuss social issues.<ref name=UNrelease>"World Youth Assembly Fund". Template:Webarchive. Press release, June 1970, accessed April 19, 2011</ref><ref>"Racusin Keys Trade Youth Drive of UN". Template:Webarchive. Billboard, June 6, 1970, accessed April 19, 2011</ref> 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.<ref>Johnson, pp. 84–85</ref> Cast and crew also contributed a day's pay, and Butler contributed a day's profits from these productions.<ref name=Teltsch1/><ref name=UNrelease/> Moreover, as Ellen Stewart, founder of La MaMa E. T. C., noted: Template:Blockquote

Awards and nominations

Original Broadway production

Year	Award ceremony	Category	Nominee	Result
Template:Center	Tony Awards<ref>Template:Cite web</ref>	Best Musical		Template:Nom
		Best Direction of a Musical	Tom O'Horgan	Template:Nom
	Grammy Awards<ref>Template:Cite web</ref>	Best Score From an Original Cast Show Album	Galt MacDermot, Gerome Ragni & James Rado Template:Small; Andy Wiswell Template:Small	Template:Won

2009 Broadway revival

Year	Award ceremony	Category	Nominee	Result
Template:Center	Tony Awards<ref>Template:Cite web</ref>	Best Revival of a Musical		Template:Won
		Best Performance by a Leading Actor in a Musical	Gavin Creel	Template:Nom
		Best Performance by a Featured Actor in a Musical	Will Swenson	Template:Nom
		Best Costume Design of a Musical	Michael McDonald	Template:Nom
		Best Lighting Design of a Musical	Kevin Adams	Template:Nom
		Best Sound Design of a Musical	Acme Sound Partners	Template:Nom
		Best Direction of a Musical	Diane Paulus	Template:Nom
		Best Choreography	Karole Armitage	Template:Nom
	Drama Desk Awards<ref>Gans, Andrew. "Drama Desk Nominees Announced; 9 to 5 Garners Record-Breaking 15 Noms" Template:Webarchive, Playbill, April 27, 2009</ref>	Outstanding Revival of a Musical		Template:Won
		Outstanding Actor in a Musical	Will Swenson	Template:Nom
		Outstanding Featured Actor in a Musical	Bryce Ryness	Template:Nom
		Outstanding Director of a Musical	Diane Paulus	Template:Nom
		Outstanding Choreography	Karole Armitage	Template:Nom
		Outstanding Set Design	Scott Pask	Template:Nom
		Outstanding Costume Design	Michael McDonald	Template:Nom
		Outstanding Lighting Design in a Musical	Kevin Adams	Template:Nom

See also

• List of plays with anti-war themes
• List of anti-war songs

References

Notes Template:Reflist

Bibliography

• Davis, Lorrie and Rachel Gallagher. Letting Down My Hair: Two Years with the Love Rock Tribe (1973) A. Fields Books Template:ISBN
• Horn, Barbara Lee. The Age of Hair: Evolution and the Impact of Broadway's First Rock Musical (New York, 1991) Template:ISBN
• Johnson, Jonathon. Good Hair Days: A Personal Journey with the American Tribal Love-Rock Musical Hair (iUniverse, 2004) Template:ISBN
• Miller, Scott. Let the Sun Shine In: The Genius of Hair (Heinemann, 2003) Template:ISBN
• Wollman, Elizabeth Lara, The Theatre Will Rock: A History of the Rock Musical from Hair to Hedwig (University of Michigan Press, 2006) Template:ISBN

External links

• Template:Official website
• Template:IBDB show
• Template:Playbill production
• 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
• Galt MacDermot Hair website
• HAIR Pages (1995–2009 archive)