Thursday, October 24, 2013
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4,358,110 articles in English
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From today's featured article
Presidio La Bahía
The Battle of Goliad was the second skirmish of the Texas Revolution. Early on October 9, 1835, rebellious Texas settlers attacked the Mexican Army soldiers garrisoned at Presidio La Bahía (pictured), a fort near the Mexican Texas settlement of Goliad. It was halfway between the Mexican garrison at San Antonio de Béxar and the major port of Copano. Texians were plotting to kidnap Mexican General Martín Perfecto de Cos, who was en route to Goliad, although they knew before their arrival that he had departed for San Antonio de Béxar. The garrison at La Bahía was understaffed and could not mount an effective defense of the perimeter. Using axes borrowed from townspeople, the Texians chopped through a door and entered the complex before the bulk of the soldiers were aware of their presence. After a 30-minute battle, the Mexican garrison surrendered. The majority of the Mexican soldiers were instructed to leave Texas, and the Texians confiscated $10,000 worth of provisions and several cannons, later used in the Siege of Béxar. The victory isolated Cos's men in Béxar from the coast, forcing them to rely on a long overland march to request or receive reinforcements or supplies. (Full article...)
Recently featured: American Cream Draft – Quatermass II – Battle of the Nile
Archive – By email – More featured articles...
Did you know...
From Wikipedia's new and recently improved content:
Klöckner in 2010
... that after being voted as the German Wine Queen in 1995, Julia Klöckner (pictured) went on to lead the Christian Democratic Union party in her native state of Rhineland-Palatinate?
... that in October 2010, Angela Hartnett acquired sole ownership of the Michelin Guide starred restaurant Murano, having co-established it with Gordon Ramsay?
... that The X-Files: Revelations was compiled as an introduction to The X-Files by series writers Chris Carter and Frank Spotnitz?
... that Charles Manby was an engineer on the first steamship to cross the English Channel, and served on the international scientific commission on the Suez Canal, the International Commission for the piercing of the isthmus of Suez?
... that shortly before the First World War, Neo-Slavism advocated the creation of a federation of Slavic states?
... that Argentine drummer Claudio Strunz owned Hermética's rehearsal room, before joining the band?
Archive – Start a new article – Nominate an article
In the news
Smog in Harbin, China
Record smog closes schools, highways and the airport in Harbin, China (pictured).
Chad, Nigeria, Chile, Lithuania, and Saudi Arabia are elected to the United Nations Security Council, but Saudi Arabia declines its seat.
Lao Airlines Flight 301 crashes on approach to Pakse Airport, Laos, killing all 49 people on board.
U.S. President Barack Obama signs a bill passed by Congress to reopen the federal government and raise the debt limit.
New Zealand author Eleanor Catton becomes the youngest winner of the Man Booker Prize.
Recent deaths – More current events...
On this day...
October 24: United Nations Day (1945)
George Washington Bridge, New York/New Jersey
1260 – Qutuz, Mamluk sultan of Egypt, was assassinated by a fellow Mamluk leader, Baibars, who then seized power for himself.
1795 – As a result of the Third Partition of Poland, the Polish–Lithuanian Commonwealth ceased to exist as an independent state as its territory was divided between Austria, Prussia, and Russia.
1931 – The George Washington Bridge (pictured), today the world's busiest motor vehicle bridge, connecting New York City to Fort Lee, New Jersey, was dedicated.
1945 – The UN Charter, the constitution of the United Nations, entered into force after being ratified by the Republic of China, France, the Soviet Union, the United Kingdom, the United States, and a majority of the other signatories.
2007 – Chang'e 1, the first satellite in the Chinese Lunar Exploration Program, was launched from Xichang Satellite Launch Center.
More anniversaries: October 23 – October 24 – October 25
Archive – By email – List of historical anniversaries
It is now October 24, 2013 (UTC) – Reload this page
Today's featured picture
A Thousand Li of Rivers and Mountains
A Thousand Li of Rivers and Mountains (千里江山) is the only extant work by 12th-century Chinese painter Wang Ximeng. Measuring 11.9 meters (39 ft) in length, it has been described as one of the greatest works of Chinese art.
Painting: Wang Ximeng
Recently featured: Pin tumbler lock – Mona Lisa – England expects that every man will do his duty
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Powered by MediaWiki
Jump to: navigation, search
Welcome to Wikipedia,
the free encyclopedia that anyone can edit.
4,358,110 articles in English
Arts
Biography
Geography
History
Mathematics
Science
Society
Technology
All portals
From today's featured article
Presidio La Bahía
The Battle of Goliad was the second skirmish of the Texas Revolution. Early on October 9, 1835, rebellious Texas settlers attacked the Mexican Army soldiers garrisoned at Presidio La Bahía (pictured), a fort near the Mexican Texas settlement of Goliad. It was halfway between the Mexican garrison at San Antonio de Béxar and the major port of Copano. Texians were plotting to kidnap Mexican General Martín Perfecto de Cos, who was en route to Goliad, although they knew before their arrival that he had departed for San Antonio de Béxar. The garrison at La Bahía was understaffed and could not mount an effective defense of the perimeter. Using axes borrowed from townspeople, the Texians chopped through a door and entered the complex before the bulk of the soldiers were aware of their presence. After a 30-minute battle, the Mexican garrison surrendered. The majority of the Mexican soldiers were instructed to leave Texas, and the Texians confiscated $10,000 worth of provisions and several cannons, later used in the Siege of Béxar. The victory isolated Cos's men in Béxar from the coast, forcing them to rely on a long overland march to request or receive reinforcements or supplies. (Full article...)
Recently featured: American Cream Draft – Quatermass II – Battle of the Nile
Archive – By email – More featured articles...
Did you know...
From Wikipedia's new and recently improved content:
Klöckner in 2010
... that after being voted as the German Wine Queen in 1995, Julia Klöckner (pictured) went on to lead the Christian Democratic Union party in her native state of Rhineland-Palatinate?
... that in October 2010, Angela Hartnett acquired sole ownership of the Michelin Guide starred restaurant Murano, having co-established it with Gordon Ramsay?
... that The X-Files: Revelations was compiled as an introduction to The X-Files by series writers Chris Carter and Frank Spotnitz?
... that Charles Manby was an engineer on the first steamship to cross the English Channel, and served on the international scientific commission on the Suez Canal, the International Commission for the piercing of the isthmus of Suez?
... that shortly before the First World War, Neo-Slavism advocated the creation of a federation of Slavic states?
... that Argentine drummer Claudio Strunz owned Hermética's rehearsal room, before joining the band?
Archive – Start a new article – Nominate an article
In the news
Smog in Harbin, China
Record smog closes schools, highways and the airport in Harbin, China (pictured).
Chad, Nigeria, Chile, Lithuania, and Saudi Arabia are elected to the United Nations Security Council, but Saudi Arabia declines its seat.
Lao Airlines Flight 301 crashes on approach to Pakse Airport, Laos, killing all 49 people on board.
U.S. President Barack Obama signs a bill passed by Congress to reopen the federal government and raise the debt limit.
New Zealand author Eleanor Catton becomes the youngest winner of the Man Booker Prize.
Recent deaths – More current events...
On this day...
October 24: United Nations Day (1945)
George Washington Bridge, New York/New Jersey
1260 – Qutuz, Mamluk sultan of Egypt, was assassinated by a fellow Mamluk leader, Baibars, who then seized power for himself.
1795 – As a result of the Third Partition of Poland, the Polish–Lithuanian Commonwealth ceased to exist as an independent state as its territory was divided between Austria, Prussia, and Russia.
1931 – The George Washington Bridge (pictured), today the world's busiest motor vehicle bridge, connecting New York City to Fort Lee, New Jersey, was dedicated.
1945 – The UN Charter, the constitution of the United Nations, entered into force after being ratified by the Republic of China, France, the Soviet Union, the United Kingdom, the United States, and a majority of the other signatories.
2007 – Chang'e 1, the first satellite in the Chinese Lunar Exploration Program, was launched from Xichang Satellite Launch Center.
More anniversaries: October 23 – October 24 – October 25
Archive – By email – List of historical anniversaries
It is now October 24, 2013 (UTC) – Reload this page
Today's featured picture
A Thousand Li of Rivers and Mountains
A Thousand Li of Rivers and Mountains (千里江山) is the only extant work by 12th-century Chinese painter Wang Ximeng. Measuring 11.9 meters (39 ft) in length, it has been described as one of the greatest works of Chinese art.
Painting: Wang Ximeng
Recently featured: Pin tumbler lock – Mona Lisa – England expects that every man will do his duty
Archive – More featured pictures...
Other areas of Wikipedia
Community portal – Bulletin board, projects, resources and activities covering a wide range of Wikipedia areas.
Help desk – Ask questions about using Wikipedia.
Local embassy – For Wikipedia-related communication in languages other than English.
Reference desk – Serving as virtual librarians, Wikipedia volunteers tackle your questions on a wide range of subjects.
Site news – Announcements, updates, articles and press releases on Wikipedia and the Wikimedia Foundation.
Village pump – For discussions about Wikipedia itself, including areas for technical issues and policies.
Wikipedia's sister projects
Wikipedia is hosted by the Wikimedia Foundation, a non-profit organization that also hosts a range of other projects:
Commons Commons
Free media repository MediaWiki MediaWiki
Wiki software development Meta-Wiki Meta-Wiki
Wikimedia project coordination
Wikibooks Wikibooks
Free textbooks and manuals Wikidata Wikidata
Free knowledge base Wikinews Wikinews
Free-content news
Wikiquote Wikiquote
Collection of quotations Wikisource Wikisource
Free-content library Wikispecies Wikispecies
Directory of species
Wikiversity Wikiversity
Free learning materials and activities Wikivoyage Wikivoyage
Free travel guide Wiktionary Wiktionary
Dictionary and thesaurus
Wikipedia languages
This Wikipedia is written in English. Started in 2001, it currently contains 4,358,110 articles. Many other Wikipedias are available; some of the largest are listed below.
More than 1,000,000 articles:
Deutsch·
español·
français·
italiano·
Nederlands·
polski·
русский·
svenska
More than 400,000 articles:
català·
日本語·
português·
Tiếng Việt·
українська·
中文
More than 200,000 articles:
العربية·
Bahasa Indonesia·
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한국어·
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suomi·
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More than 50,000 articles:
български·
dansk·
eesti·
Ελληνικά·
English (simple)·
Esperanto·
euskara·
galego·
עברית·
hrvatski·
latviešu·
lietuvių·
norsk nynorsk·
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Complete list of Wikipedias
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Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Powered by MediaWiki
How Many Times A Day Do I Say The Word "HAIR"?
[January 3rd 2003]
A good friend of mine called to my attention once that I was always and perpetually using the "four-letter word", saying "Hair this..." and "Hair that..." He became so annoyed by it that he begged me to do something about it. He got me eventually to change my references to: "the H-word show". Now, when I do lapse and utter the actual title, I catch myself up short, as though I had said the "f-word".
The H-word show has been a continually happening thing in my life. Just last night I went to see a production in New York City at the Provincetown Playhouse where the NYU theater department put it on. And I am just now beginning to work with the director of the upcoming national tour, Scott Schwartz. I am meeting him Monday to begin spilling all I know about the inner workings of the piece. One big mistake happening with regard to the show is that Tams-Witmark is not giving out the superior revised version of the script. At last night's performance, the potential was hampered because of confusing textual material. Some compensating choices were made that were unfortunate and undercut the climaxes. (Mixed in with some very good work.)
HAIR (oops!) is unfortunately pretty darn relevant to now, and that came through loud and clear last night. Regarding the dreadful world situation at this space and time in eternity, I want to pass on to you some remarkable words of wisdom and enlightenment from Swami Beyondananda. (In the Indian language, "ananda" means "bliss")
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
Successful run in Australia
[June 27th 2003]
HAIR has opened in Sydney and moved on to Melbourne for its run down under. Via the grapevine, I heard about one error of judgment in that production. The orchestrations borrowed heavily from the musical arrangements of the movie, and should have been more faithful to the original Broadway arrangements and the authentic 60s feel, which I definitely think the movie lacked. Another comment, heard from an American visitor to the Sydney opening: "the show was terrific."
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
HAIR was first a stage musical, the movie came after...
[January 4th 2004]
Some people think HAIR came from the movies to the stage, that the stage play was an adaptation of the movie. The reverse is true. HAIR was written by us for the stage, to be performed live in front of an audience, and it was later adapted into a movie. The story was considerably altered and only half of the score was used.
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
September 27th 1968: Musical Hair opens as censors withdraw.
[February 7th 2004]
The American hippy musical "Hair" has opened in London - one day after the abolition of theatre censorship.
Until yesterday, some of the scenes in the musical, written by out-of-work actors Gerome Ragni and James Rado, would have been considered too outrageous to be shown on a stage in Britain.
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
The Schizophrenia Society Theater Night
[December 9th 2005]
The upcomming new production of Hair in Toronto, Canada will be attended by The Schizophrenia Society of Ontario on the night of March 24th.
(click here for more information)
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
Another show by Ragni and Rado
[December 9th 2005]
Gerome Ragni & I worked for many years on a new show called SUN. It is subtitled "Audio Movie" and has been recorded in its entirety, including all the dialogue and musical numbers. A wild piece, comic and dramatic, our musical of the 1980s and now.
SUN
Audio Movie
On recording now (3 CDs), with music by Steve Margoshes
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
The new show : AMERICAN SOLDIER
[December 9th 2005]
Coming Soon:
AMERICAN SOLDIER -- The White Haunted House
Lyrics & Music by James Rado
Book by James Rado & Theodore Omski
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
Excitement Builds In Toronto Theater
[December 9th 2005]
HAIR banners are flying up and down the streets of this major Canadian city. Happy to report that casting has just been completed for the upcoming Toronto production of HAIR, opening in March, 2006. Everyone at CanStage where HAIR will play is exhuberant in anticipation and the new Tribe is terrific. Director: Robert Prior, Choreographer: Stephen Hues. They come from their own theater company, Fabulous Monsters in Los Angeles.
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
BULLETIN: HAIR Recording Nominated for Grammy
[December 19th 2005]
On February 6th, 2006, the Grammy Awards happen, and HAIR has been nominated under category of SHOWS. The particular recording that has caught the Grammy's attention is the one of the benefit for The Actors' Fund of America, held earlier in 2005. All the talent of that very successful concert was assembled in a recording studio afterwards to produce what is a very interesting rendition.
Of particular note are Tracks #7: DEAD END sung by Ana Gasteyer & Tribe - #8 : SHEILA FRANKLIN/I BELIEVE IN LOVE by Shoshana Bean & Tribe - #22: ELECTRIC BLUES by Toxic Audio, among many others.
It's in all big record stores now, with all proceeds going to the Actors Fund, for actors & stagecrews' assistance in time of need. Very worthwhile listening for HAIR fans.
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
New lyrics for `Where Do I Go`
[December 26th 2005]
In connection with the new Toronto & Anchorage productions, have just found a new lyric for Where Do I Go. The song finally feels completed. Had no idea it was not complete until today, Dec. 26, 2005.
2nd Stanza (instead of "follow the children," which still comes later):
WHERE DO I GO / FOLLOW THE HEAVENS / WHERE DO I GO / FOLLOW THE MOON / IS THERE AN ANSWER / WRITTEN IN STARLIGHT / THAT TELLS ME WHY I LIVE AND DIE...
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
New Advanced Production of HAIR scheduled to open in Anchorage, Alaska, on March 13th, 2006
[January 1st 2006]
It is the first time the show has ever appeared in Alaska, as far as we can tell. Working with the director on modest script adjustments for The Perseverence Theater, Juneau.
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
Hair in Toronto
[March 24th 2006]
Jim Rado has been in Toronto, Canada, for the last month and a half working side-by-side with the director Robert Prior and choreographer Stephen Hues on the new first-class production. It opens Thursday night, March 30th, 2006, one day after the solar eclipse, at the Bluma Appel Theater on Front Street.
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
Shaved Hair!
[October 18th 2006]
Items of Interest:
*** A new university production of HAIR is opening tonight in New York City.
It's a five-day run of the show, and we understand it has a very unique approach.
All the hippies (actors) have shaven their heads bald, including the women. Everyone is wearing white...and there is a White Gorilla Costume. Supposedly the music has been re-orchestrated. Am attending and will report back on it.
*** HAIR is being leased to a theatre in Hungary...dates: July 1, 2006 - June 30, 2007...Vorosmarty Theatre, Szekesfehervar, Hungary.
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
Copyright 2009, James Rado This page last updated: Friday, October 11, 2013 Powered by Fresher
Dear Hairites
[June 28th 2007]
HAIR is being done in New York City's Central Park, the Delacorte Theater, under the aegis of the Public Theater and Joe's Pub. Three performances only in mid-September. Also, the new show is titled AMERICAN SOLDIER, The Whie Haunted House. I wrote the Book with my brother, Theodore Omski.
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New lyrics for HIPPIE LIFE song
[July 25th 2007]
To: Michael Butler, as per your request...
How I love my hippie life
What a far-out triip
In my heart is love for others
All my sisters and my brothers
How I love my hippie life
Barefoot on cement
Brother can you spare a quarter
Care to share some marijuana (or: Care to share some fresh spring water)
(bridge:)
Oh, we're gonna change the world
At least we're gonna try
We're gonna take this low-down world
And make it high high high
Lift it up to see the light
Open up its heart
Try to end it's stress and strife
Turn it on to hippie life
How I love my hippie life
Keep on truckin'
Keep on truckin'
Keep on truckin'
How I love my hippie life
What a far-out trip
We're gonna save the drinking water
Peace is just around the corner
(bridge:)
All you singers and musicians come and join the tribe
We're gonna undulate this world
Until it feels the vibe
Open up and see the light
Let the sun shine in
Time to end your stress and strife
Turn you on to hippie life
How I love my hippie life
Happy Hopi hippie life
How I love my hippie life...
Michael -
If you quote the lyric or use it in its entirety, please include the following about it:
This song was originally conceived for the movie of HAIR but was not used. It had one melody at that time which Galt later replaced with a whole new one, much to the song's advantage. I used Hippie Life in the European productions from 1995-1999. It caught on over there so much that, if we did not include it in the body of the show, after the ending, LET THE SUN SHINE IN, the crowd would take up the chant HIPPIE LIFE HIPPIE LIFE HIPPIE LIFE...and make us do it as an encore. We did it with American Indian dancing and drumming. It was dynamic and a real crowd pleaser. HIPPIE LIFE or HOW I LOVE MY HIPPIE LIFE, lyrics by James Rado & Gerome Ragni
Music by Galt MacDermot.
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The Real Theatre Company, New York City
[August 3rd, 2007]
There is a very compelling and emotional production of HAIR being done by a young theatre group in New York City. They are called The Real Theatre Company, and HAIR is their very first production. Many of the actors in it are recent graduates from the Neighborhood Playhouse which is famous for turning out many well-known actors and stars under the aegis of the famed acting teacher, Sanford Meisner. HAIR is being directed by Maggie Levin and choreographed by Willy Frankfurt. It looks to be a winner, and it will only be running for two weeks, to test audience response. It plays the last week in August and the first week in September. The exact theater location is to be announced and will soon appear on this website. Click HERE to go to their website.
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[ June 24th, 2009 ]
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[ June 15th, 1009 ]
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[ April 24th, 2009 ]
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[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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Great production of Hair...
[August 21th 2007]
Check out the latest and one of the greatest production of HAIR. It looks likes it's going to be a blast!
Full of surprise! Only two weekends...
New York hair fans investigate: www.realtheatrecompany.com
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[ June 24th, 2009 ]
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[ June 15th, 1009 ]
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[ April 24th, 2009 ]
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[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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The 40th Anniversary Concert in central park!
[September 10th 2007]
HAIR has a big concert-version happening in the 2,000 seat outdoor Delacorte Theater in Central Park on September 22, 23 & 24. Thanks for all the NEWS and VIEWS! ...jim
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[ June 24th, 2009 ]
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[ June 15th, 1009 ]
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[ April 24th, 2009 ]
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[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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The 40th ANNIVERSARY of the world premiere of HAIR at the Public Theater in 1967
[October 4th 2007]
The 40th ANNIVERSARY of the world premiere of HAIR at the Public Theater in 1967 was celebrated at the Delacorte Open-Air Ampitheater in Central Park Saturday, Sunday & Monday, September 22, 23 & 24. Three full-to-capacity performances of the show, directed by Diane Paulus, choreographed by Karole Armitage, with Galt MacDermot himself at the keyboard of a 12-piece band, music direction by Rob Fisher (of Encores fame). And I helped.
Claude was played by Jonathan Groff (of Spring Awakening), Berger was Will Swenson, Sheila was Karen Olivo (of In The Heights), Jeanie was Kacie Sheik, Woof was Bryce Ryness,
Hud was Darius Nichols, Dionne was Patina Miller, Crissy was Allison Case. The wonderfully gifted TRIBE included Ato Blankson-Wood, Steel Burkhardt, Lauren Elder, Allison Guinn, Anthony Hollock, Kaitlin Kiyan, Andrew Kober (Margaret Mead & Dad), Megan Lawrence (Mom & Guru Buddadalirama), Nicole Lewis, John M. Moauro, Brandon Pearson, Alisan Porter, Megan Reinking, Paris Remillard, Saycon Sengbloh, Maya Sharpe, Theo Stockman & Tommar Wilson, all top-flight singers & actors. The show was sensational on every level and the audiences of 1,800 people each night seemed to be most enthusiastic. Original Cast Members were guests and appeared on stage at the end of each performance.
Oskar Eustis, the Artistic Director wrote: "It's hard to believe that it's been forty years since HAIR opened at The Public. That premiere marked so many things: the opening of the Public Theater, the first rock musical, and the most famous on-stage nudity in American history -- to name just a few.
But its most single and important contribution was to put the voice of a generation, in all its beauty and rage and confusion, into an unforgettable theatrical form.
The Tribe members in HAIR are as narcissistic as they are generous, as self-involved as they are idealistic. They are faced with one enormnous challenge: saving Claude from going to Vietnam.
They fail utterly. But in their very failure, they paint the possibility of a world where they could have succeeded. HAIR is a tragedy that leaves us with joy, because it has awakened hope.
Claude, the self-questioning, Hamlet-like shape-shifter from Flushing who pretends to be British, is the icon of every radical who lacks the self-certainty and power to defend himself. Berger, the joyous, sexy rebel who befriends him, reminds us of how often charisma has been linked with fatal grandiosity on the left. The entire Tribe, convinced of the possibility of a better world but unable to articulate how to bring it into being, is left with only the rejection of this world as a credo: a necessary but insufficient protest. In 2007, how close they seem to us still." Oskar Eustis
I thought you would like to know about this. Love & Peace & Health & Light...
Jim Rado
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[ June 24th, 2009 ]
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[ June 15th, 1009 ]
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[ April 24th, 2009 ]
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[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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Hair going to Russia
[October 5th 2007]
BIG NEWS: Contracts have been signed for the VERY FIRST AUTHORIZED production of HAIR in RUSSIA. Rights are being granted through November 30, 2008. J.R
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[ June 24th, 2009 ]
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[ June 15th, 1009 ]
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[ April 24th, 2009 ]
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[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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Back on Broadway
[November 13th, 2008]
www.hairbroadway.com
Opens at the Hirschfeld Theatre on West 45th Street
New York City
Previews scheduled to begin in February 2009.
(This is the first Broadway production of HAIR since the early 1970s)
New Website Design Coming Soon,
including new recording of the song AQUARIUS ("2008 Remake")
which features an extended lyric,
elaborating the astrological meaning.
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Good Morning America Friday
[ June 24th, 2009 ]
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[ June 15th, 1009 ]
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[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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New Website Launched!
[December 30th, 2008]
We've just launched the new website!
More to come! Stay tuned!
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Good Morning America Friday
[ June 24th, 2009 ]
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[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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Goodbye Bush - Final Farewell
[January 7th, 2009]
"Goodbye Bush - Final Farewell" by A.D. Coughlan:
http://www.youtube.com/adcoughlan
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Good Morning America Friday
[ June 24th, 2009 ]
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[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
more...
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Beyondophonic Action Hour, Sunday 8th of march 2009
[4th of March 2009]
Tothar's Beyondophonic HAIR Happening with Galt MacDermot - March 1 and 8
In honor of HAIR's 2009 return to Broadway, Tothar dishes up a 2-part Hair Happening. On March 1, Tothar crammed in his favorite versions of 22 different HAIR songs plus some interview tidbits with HAIR composer Galt MacDermot. There was Moog HAIR, Latin HAIR, foreign-language (French! German! Hebrew! Spanish! Japanese!) HAIR. And more! Then come on back this Sunday for way more dialogue with Galt and lots more great HAIR cuts in Part Two. Tune in and turn on or drop out: Sundays 7pm Pacific, 10pm Eastern, only on LuxuriaMusic.
Missed Part One last Sunday? Fret not, We've got Podcast Archives! Click here to hear!
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Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
more...
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Time Out New York tribe pictures
[March 12th, 2009]
The broadway tribe is showcased in this week's Time Out New York. Take a look:
http://www.timeout.com/newyork/articles/features/72348/the-cast-of-hair-naked
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Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
more...
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Broadway Tribe on Letterman
[April 24th, 2009]
Entire Broadway Hair Tribe on David Letterman Thursday April 30th,2009
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Jim's Journal
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Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
more...
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American Soldier
[April 24th, 2009]
If you'd like to see excerpts of show now in the works, go to YouTube:
http://www.youtube.com/watch?v=ybipolMlEAg
There you have AMERICAN SOLDIER - The White Haunted House (in 3 parts)
Hair Broadway - Buy Tickets
Jim's Journal
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Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
more...
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Hair podcast with Jim
[June 15th, 1009]
An original recording from 1968 with James and Galt:
http://seed.sproutbuilder.com/3ACL4z0MFgEz2BOC
BUY LINKS:
DisinHairited: iTunes | Arkiv Music
HAIR: Amazon | iTunes
Hair Broadway - Buy Tickets
Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
Time Out New York tribe pictures
[ March 12th, 2009 ]
more...
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Good Morning America Friday
[June 24th, 2009]
The Tribe is back in the park this Friday for Good Morning America!
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Jim's Journal
--------------------------------------------------------------------------------
Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
more...
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Hairstory, The Story Behind The Story
In Depth
Analysis
HAIRtimeLINE
Synopsis
HAIR is about a group of young people in New York City's East Village who band together as a TRIBE. They are a New York contingent of flower children, (a freeform phenomenon that had begun a little earlier in Haight-Ashbury, San Francisco and would subsequently spread to Europe & elsewhere). Taking on the feel of an American Indian tribe, they question authority and the society they are living in and the war in Asia. They seek to find a new way. They yearn to change the world. They begin by recreating themselves. They find a potent organic natural esthetic; the most dramatic visible element, all the men grow their hair long. They tune in to Eastern thought & meditation. They turn on and drop out. They hang out in self-made clouds of incense and grass. They laugh and cavort, as they find a new freedom of expression and camaraderie. They live in crash pads, in the parks and on the streets. Unkempt, wild, free, and deep, they are unique, colorful, something genuinely original and beautiful...and so hip (yet in a different style from the earlier hipsters and beatniks). A new word is coined to identify them. They come to be called hippies. They try to live by the philosophy of "Peace and Love." They are on a trip of liberation. They commune, join hands in protest and in song. Within the context of the play, they struggle for the light, but are forced to fight & die, only to be reborn, again to suffer more, then to rise from the ashes, to glow, to shine...
The authors of HAIR played with the idea that this movement was connected astrologically to the heavens, to the coming of the Age of Aquarius...
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Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
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[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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previous | next
The New York Times
December 19, 1972
THE THEATER: "RAINBOW"
Musical Successor to "Hair" Is a Success
By Clive Barnes
The progenies of "Hair" have not enjoyed a great track record. It is therefore all the more pleasant to report that the latest of that tribe, "Rainbow," which opened last night at the Orpheum Theater, is a distinct success. It has the style, manner and energy of "Hair," as well as its chaotic organization and its simplistic view of a far from simple world.
It has been written chiefly by James Rado, who was one of the writers of "Hair." The music and lyrics are by Mr. Rado, and for the book he has been assisted, but perhaps not enough, by his brother, Ted Rado.
The musical is joyous and life-assertive. It is the first musical to derive from "Hair" that really seems to have the confidence of a new creation about it, largely derived from James Rado's sweet and fresh music and lyrics.
"Rainbow" almost literally takes off from where "Hair" ended. At the end of "Hair," Claude, the drafted dropout, is killed in Vietnam. In "Rainbow," someone called simply Man has been killed in Vietnam, and comes over the other side into Rainbowland.
Rainbowland is the kind of place that perhaps only Judy Garland could fully appreciate. It seems to be a radio station of sorts - fancy finding out that heaven was just that great big radio station in the sky - obsessed, but not too intently, with preparing commercials for such soap products as Oxydol. (Nights when I was unable to sleep I often wondered whatever happened to Oxydol - well, it appears it made good, and went on to higher things.)
There is a Mother, and a Father, and Jesus, and Buddha, a Stripper, a Wizard, a Girl, her lesbian twin, a President and a First Lady. The whole thing is great fun until for one horrid and unfortunate moment, the Brothers Rado feel impelled to introduce a conscience-struck note of political significance.
The Man, accompanied by his Rainbow Room of cronies, goes to Washington and there sees the President. "Why was I killed in Vietnam, Mr. President," he asks plaintively. Mr. President, a good guy at heart, replies: "If it was my fault, forgive me." Yes, well. But such lapses apart - and there aren't many - "Rainbow" reallly swings and pulses.
Perhaps the big surprise is provided by James Rado's music, which comes out in a gush of melody. It is a brilliant score full of the most astonishing variety. Some of it does sound like the great Galt MacDermot score for "Hair," and the influence of MacDermot is strongly felt. But there is also country music, band music, showbiz pastiche, all manner of music, held into one homogenous score by its characteristic forcefulness. Yes, at times this pressure is a little unremitting, and the show has an almost unbelievable 42 numbers in it. Luckily the singing hardly ever stops.
Mr. Rado's lyrics have a bizarre zaniness. Apart from the occasional modish dirtiness, there is a Lewis Carroll madness here that is most appealing. They say crazy things and evoke crazy images, but do so with a most bouncy zest.
The setting by James Tilton is simple but effective, consisting fundamentally of a spiral platform running around the stage. Busby Berkeley would have loved it and Fred Astaire would have tap-danced down it. The staging is by yet another "Hair" alumnus, Joe Donovan.
Mr. Donovan has doubtless caught his sense of slightly organized frenzy from Tom O'Horgan, but his style of red-cheeked clowns and unlikely buffoons appears to derive more from John Vaccaro and his Playhouse of the Ridiculous. It works well to give the show the specific style it needs in the absence of a book.
The performances - and this is a team effort - are notably attractive. The show has something of the tribal quality of "Hair," that odd mixture of charades and greasepaint, of backyard kids play-acting.
Gregory V. Karliss gave Man a certain gusto, Camille (only one name as in Greta Garbo) belted attractively as the Mother, Bobby C. Ferguson made a happpily mysterious Wizard, and the two pretty and fine-singing Girls were Kay Cole and Janet Powell. All the singing was first-rate and the playing (musical supervision by Steven Margoshes) and the sound engineering (Abe Jacob) were both superior.
What separates "Rainbow" from the other rock and plotless musicals that have recently been going bump in the night, is its stylistic cohesion and lack of pretensions. It is not only noisy and brash, it is also very likable.
Rainbow
Pictures of original production
Rainbow press reviews
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[ June 24th, 2009 ]
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[ June 15th, 1009 ]
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[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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Broadway Production of Hair
Website for the up coming production of Hair on Broadway 2009
Dailymotion
A video of the french production at the Trianon theater in Paris, 2009
Hair the Musical, Ein projekt der oberstufe
German Hair website that sells Hair T-shirts.
Lyrics on Demand
Lyrics of LET THE SUNSHINE IN in German.
Hair Company Prague
A very nice Hair website from the Czech Repuplic.
STLyrics
Lyrics of all the songs.
The Hair Pages
Plot and musical numbers.
ADN
Anchorage, Alaska newspaper review of a 2007 production of HAIR.
BBC.CO.UK
Articles about the scandals about Hair.
Tams-Witmark agency
For information about rights to produce a HAIR show.
Ebay, Amazon, Yahoo
If you need to buy CD's, DVD's, T-shirt, collectibles or anything related to Hair.
Google, Yahoo, MSN
There are tons of picture of HAIR on the web.
YouTube
Movies uploaded by the YouTube community.
Flickr
Stills uploaded by the Flickr community.
If you would like us to link to your site, please get in touch with our webmaster.
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Good Morning America Friday
[ June 24th, 2009 ]
Hair podcast with Jim
[ June 15th, 1009 ]
American Soldier
[ April 24th, 2009 ]
Broadway Tribe on Letterman
[ April 24th, 2009 ]
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[ March 12th, 2009 ]
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Hair (musical)
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This article is about the musical. For the musical film, see Hair (film).
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Hair
The American Tribal Love-Rock Musical
Hairposter.jpg
Original Broadway poster
Music
Galt MacDermot
Lyrics
James Rado
Gerome Ragni
Book
James Rado
Gerome Ragni
Productions
1967 Off-Broadway
1968 Broadway
1968 West End
Multiple Productions Worldwide
1977 Broadway revival
1979 Film version
1993 London revival
2009 Broadway revival
2010 West End revival
Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by James Rado and Gerome Ragni and music by Galt MacDermot. A product of the hippie counter-culture and sexual revolution of the 1960s, several of its songs became anthems of the anti-Vietnam War peace 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 much comment and controversy.[1] The musical 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.[2]
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 good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to succumb to the pressures of his parents (and conservative America) to serve in Vietnam, compromising his pacifistic principles and risking his life.
After an Off-Broadway debut in October 1967 at Joseph Papp's Public Theater and a subsequent run in a midtown discothèque space, 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 successful London production that ran for 1,997 performances. Since then, numerous productions have been staged around the world, spawning dozens of recordings of the musical, including the 3 million-selling original Broadway cast recording. Some of the songs from its score became Top 10 hits, and a feature film adaptation was released in 1979. A Broadway revival opened on March 31, 2009, earning strong reviews and winning the Tony Award and Drama Desk Award for best revival of a musical. In 2008, Time magazine wrote, "Today Hair seems, if anything, more daring than ever."[3]
Contents
[hide] 1 History 1.1 Off-Broadway productions
1.2 Revision for Broadway
2 Synopsis
3 Early productions 3.1 Broadway
3.2 Early regional productions
3.3 West End
3.4 Early international productions
4 Themes 4.1 Race and the tribe
4.2 Nudity, sexual freedom and drug use
4.3 Pacifism and environmentalism
4.4 Religion and astrology
4.5 Literary themes and symbolism
5 Dramatics 5.1 Viet Rock and Hair
5.2 Production design
5.3 Nude scene
6 Music 6.1 Songs
6.2 Recordings
7 Critical reception 7.1 Awards and nominations
8 Social change 8.1 Legal challenges and violent reactions
8.2 Worldwide reactions
9 Beyond the 1960s 9.1 1970s
9.2 1980s and 1990s
9.3 2000s 9.3.1 2009 Broadway revival and 2010 U.S. National Tour
9.3.2 2010 West End revival
9.4 International success
10 Cultural impact 10.1 Popular culture
10.2 Legacy
11 See also
12 References
13 External links
History[edit]
Hair was conceived by actors James Rado and Gerome Ragni. The two met in 1964 when they performed together in the Off-Broadway flop Hang Down Your Head and Die,[4] and they began writing Hair together in late 1964.[5][6] The main characters were autobiographical, with Rado's Claude being a pensive romantic and Ragni's Berger an extrovert. Their close relationship, including its volatility, was reflected in the musical. Rado explained, "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."[7]
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".[2] He recalled, "There was so much excitement in the streets and the parks and the hippie areas, and we thought if we could transmit this excitement to the stage it would be wonderful.... We hung out with them and went to their Be-Ins [and] let our hair grow."[8] Many cast members (Shelley Plimpton in particular) were recruited right off the street.[2] 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."[4]
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, on the other hand, was an active member of The Open Theater, one of several groups, mostly Off-off Broadway, that were developing experimental theatre techniques.[9] He introduced Rado to the modern theatre styles and methods being developed at The Open Theater.[10] In 1966, while the two were developing Hair, Ragni performed in The Open Theater's production of Megan Terry's play, Viet Rock, a story about young men being deployed to the Vietnam War.[11] In addition to the war theme, Viet Rock employed the improvisational exercises being used in the experimental theatre scene and later used in the development of Hair.[6][12]
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.[13] MacDermot had won a Grammy Award in 1961 for his composition "African Waltz" (recorded by Cannonball Adderley).[14] 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."[8] "I never even heard of a hippie when I met Rado and Ragni."[4] But he shared their enthusiasm to do a rock and roll show.[4] "We work independently," explained MacDermot in May 1968. "I prefer it that way. They hand me the material. I set it to music."[15] MacDermot wrote the first score in three weeks,[7] starting with the songs "I Got Life", "Ain't Got No", "Where Do I Go" and the title song.[2] He first wrote "Aquarius" as an unconventional art piece, but later rewrote it into an uplifting anthem.[7]
Poster from The Cheetah with the Native American theme
Off-Broadway productions[edit]
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. The musical was Papp's first non-Shakespeare offering.[4] The production did not go smoothly: "The rehearsal and casting process was confused, the material itself incomprehensible to many of the theater’s staff. The director, Gerald Freedman, the theater's associate artistic director, 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."[16]
Hair premiered off-Broadway at the Public on October 17, 1967 and ran for a limited engagement of six weeks. The lead roles were played by Walker Daniels as Claude, Ragni as Berger, Jill O'Hara as Sheila, Steve Dean as Woof, Arnold Wilkerson as Hud, Sally Eaton as Jeanie and Shelley Plimpton as Crissy.[17] Set design was by Ming Cho Lee, costume design by Theoni Aldredge, and although Anna Sokolow began rehearsals as choreographer, Freedman received choreographer credit.[18] Although the production had a "tepid critical reception", it was popular with audiences.[16] A cast album was released in 1967.
Chicago businessman Michael Butler was planning to run for the U.S. Senate on an anti-war 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[8] and joined forces with Joe Papp to reproduce the show at another New York venue after the close of its run at the Public. Papp and Butler first moved the show to The Cheetah, a discothèque at 53rd Street and Broadway. It opened there on December 22, 1967[19] and ran for 45 performances.[2] There was no nudity in either the Public Theater or Cheetah production.[1]
Revision for Broadway[edit]
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[20] and made more realistic. For example, Claude had been written as a space alien who aspires to be a cinematic director; he became human for the Broadway version.[21] Moreover, 13 new songs were added.[20] The song "Let the Sun Shine In" was added so that the ending would be more uplifting.[7]
Before the move to Broadway, the creative team hired director Tom O'Horgan, who had built a reputation directing experimental theater at the La MaMa Experimental Theatre Club. He had been the authors' first choice to direct the Public Theater production, but he was in Europe at the time.[22] Newsweek described O'Horgan's directing style as "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."[23] In rehearsals, O'Horgan used techniques passed down by Viola Spolin and Paul Sills involving role playing and improvisational "games". Many of the improvisations tried during this process were incorporated into the Broadway script.[24] O'Horgan and new choreographer Julie Arenal encouraged freedom and spontaneity in their actors, introducing "an organic, expansive style of staging" that had never been seen before on Broadway.[4] The inspiration to include nudity came when the authors saw an anti-war demonstration in Central Park where two men stripped naked as an expression of defiance and freedom, and they decided to incorporate the idea into the show.[4] O'Horgan had used nudity in many of the plays he directed, and he helped integrate the idea into the fabric of the show.[2]
Papp declined to pursue a Broadway production, and so Butler produced the show himself. For a time it seemed that Butler would be unable to secure a Broadway theater, as the Shuberts, Nederlanders and other theater owners deemed the material too controversial. However, Butler had family connections and knew important people; he persuaded Biltmore Theatre owner David Cogan to make his venue available.[25]
Synopsis[edit]
"Aquarius"
A chorus from the Original Broadway Cast.
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"Hair"
The end of a verse and a chorus of the title song.
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Act I
Claude, the nominal leader of the "tribe", sits center stage as the tribe mingles with the audience. Tribe members Sheila, a New York University student who is a determined political activist, and Berger, an irreverent free spirit, cut a lock of Claude's hair and burn it in a receptacle. After the tribe converges in slow-motion toward the stage, through the audience, 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" and reveals that he is "looking for my Donna" ("Donna").
The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols several sexual practices ("Sodomy") and says, "I grow things." 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 really from Flushing, New York. Hud, Woof and Berger declare what color they are ("I'm Black"), while Claude says that he's "invisible". The tribe recites a list of things they lack ("Ain't Got No"). Four African-American tribe members recite street signs in symbolic sequence ("Dead End").
Sheila is carried onstage ("I Believe in Love") and leads the tribe in a protest chant. The tribe reprises "Ain't Got No (Grass)". Jeanie, an eccentric young woman, appears wearing a gas mask, satirizing pollution ("Air"). She is pregnant and in love with Claude. Although she wishes it was Claude's baby, she was "knocked up by some crazy speed freak". The tribe link together LBJ (President Lyndon B. Johnson), FBI (the Federal Bureau of Investigation), CIA (the Central Intelligence Agency) and LSD ("Initials"). Six members of the tribe appear dressed as Claude's parents, berating him for his various transgressions – he does not have a job, and he collects "mountains of paper" clippings and notes. They say that they will not give him any more money, and "the army'll make a man out of you". In defiance, Claude leads the tribe in celebrating their vitality ("I Got Life").
After handing out imaginary pills to the tribe members, saying the pills are for high profile people such as Richard Nixon, the Pope, and "Alabama Wallace", Berger relates how he was expelled from high school ("Goin' Down"). Claude returns from his draft board physical, which he passed. He pretends to burn his Vietnam War draft card, which Berger reveals as a library card. Claude agonizes about what to do about being drafted.
Two tribe members dressed as tourists come down the aisle to ask the tribe why they have such long hair. In answer, Claude and Berger lead the tribe in explaining the significance of their "Hair". The tourist lady states that kids should "be free, no guilt" and should "do whatever you want, just so long as you don't hurt anyone." She observes that long hair is natural, like the "elegant plumage" of male birds ("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.
"Where Do I Go?"
The nude scene at the end of Act I.
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Sheila gives Berger a yellow shirt. He goofs around and ends up tearing it in two. Sheila voices her distress that Berger seems to care 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." The tribe runs out to the audience with fliers inviting them to a Be-In. Berger, Woof and another tribe member pay satiric tribute to the American flag as they fold it ("Don't Put it Down"). After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In". The men of the tribe burn their draft cards. Claude puts his card in the fire, then 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 emerges naked, intoning "beads, flowers, freedom, happiness."
Act II
Four tribe members have the "Electric Blues". After a black-out, the tribe enters worshiping "Oh Great God of Power." Claude returns from the induction center, and tribe members act out an imagined conversation from Claude's draft interview, with Hud saying "the draft is white people sending black people to make war on the yellow people to defend the land they stole from the red people". Claude gives Woof a Mick Jagger poster, and Woof is excited about the gift, as he has said he's hung up on Jagger. Three white women of the tribe tell why they like "Black Boys" ("black boys are delicious..."), and three black women of the tribe, dressed like The Supremes, explain why they like "White Boys" ("white boys are so pretty...").
Berger gives a joint to Claude that is laced with a hallucinogen. Claude starts to trip as the tribe acts out his visions ("Walking in Space"). He hallucinates that he is skydiving from a plane into the jungles of Vietnam. Berger appears as General George Washington and is told to retreat because of an Indian attack. The Indians shoot all of Washington's men. General Ulysses S. Grant appears and begins a roll call: Abraham Lincoln (played by a black female tribe member), John Wilkes Booth, Calvin Coolidge, Clark Gable, Scarlett O'Hara, Aretha Franklin, Colonel George Custer. Claude Bukowski is called in the roll call, but Clark Gable says "he couldn't make it". They all dance a minuet until three African witch doctors kill them – all except for Abraham Lincoln who says, "I'm one of you". Lincoln, after the three Africans sing his praises, recites an alternate version of the Gettysburg Address ("Abie Baby"). Booth shoots Lincoln, but Lincoln says to him, "I ain't dying for no white man".
As the visions continue, four Buddhist monks enter. One monk 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 with knives. 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 and two parents appear holding up a suit on a hanger. The parents talk to the suit as if it is their son and they are very proud of him. The bodies rise and play like children. The play escalates to violence until they are all dead again. They rise again ("Three-Five-Zero-Zero") and, at the end of the trip sequence, two tribe members sing, over the dead bodies, a melody set to a Shakespeare lyric about the nobility of Man ("What A Piece of Work Is Man").
"The Flesh Failures/Let the Sun Shine In"
The last verse of "The Flesh Failures" and first chorus of "Let the Sun Shine In" from the Original Broadway Cast.
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After the trip, Claude says "I can't take this moment to moment living on the streets.... I know what 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 is left alone with his doubts. He leaves as the tribe enters wrapped in blankets in the midst of a snow storm. They start a protest chant and then wonder where Claude has gone. Berger calls out "Claude! Claude!" Claude enters dressed in a military uniform, his hair short, but they do not see him because he is an invisible spirit. Claude says, "like it or not, they got me."
Claude and everyone sing "Flesh Failures". The tribe moves in front of Claude as Sheila and Dionne take up the lyric. The whole tribe launches into "Let the Sun Shine In", and as they exit, they reveal Claude lying down center stage on a black cloth. During the curtain call, the tribe reprises "Let the Sun Shine In" and brings audience members up on stage to dance.
(Note: This plot summary is based on the original Broadway script. The script has varied in subsequent productions.)
Early productions[edit]
Broadway[edit]
Hair opened on Broadway at the Biltmore Theatre on April 29, 1968. The production was directed by Tom O'Horgan and choreographed by Julie Arenal, with set design by Robin Wagner, costume design by Nancy Potts, and lighting design by Jules Fisher. The original Broadway "tribe" (i.e., cast) included authors Rado and Ragni, who played the lead roles of Claude and Berger, respectively, and Lynn Kellogg as Sheila, Lamont Washington as Hud, Sally Eaton and Shelley Plimpton reprising their off-Broadway roles as Jeanie and Crissy, Melba Moore as Dionne, Steve Curry as Woof, Ronnie Dyson (who sang "Aquarius"), Paul Jabara and Diane Keaton (both Moore and Keaton later played Sheila).[26] Among the performers who appeared in Hair during its original Broadway run were Ben Vereen, Keith Carradine, Barry McGuire, Ted Lange, Meat Loaf, Kenny Seymour (of Little Anthony and The Imperials), Joe Butler (of the Lovin' Spoonful), Peppy Castro (of the Blues Magoos), Robin McNamara, Heather MacRae (daughter of Gordon MacRae), Eddie Rambeau, Vicki Sue Robinson, Beverly Bremers and Kim Milford.[26]
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 consideration for the 1968 Tonys, the New York Theatre League later ruled Hair ineligible, moving the cutoff date to March 19. The producers brought suit[27] but were unable to force the League to reconsider.[28] At the 1969 Tonys, Hair was nominated for Best Musical and Best Director but lost out to 1776 in both categories.[29] The production ran for four years and 1,750 performances, closing on July 1, 1972.[26]
Early regional productions[edit]
The West Coast version played at the Aquarius Theatre on Sunset Boulevard 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, Robert Rothman, Ben Vereen (who replaced Ragni), Red Shepard, Ted Neeley (who replaced Rado), Meat Loaf, Gloria Jones, Táta Vega, Jobriath, Jennifer Warnes, and Dobie Gray.[5]
There were soon nine simultaneous productions in U.S. cities, followed by national tours.[5][30] Among the performers in these were Joe Mantegna, André DeShields, and Alaina Reed (Chicago),[31] David Lasley, David Patrick Kelly and Shaun Murphy (Detroit),[32] Arnold McCuller (tour),[33] Bob Bingham (Seattle)[34] and Philip Michael Thomas (San Francisco).[35] The creative team from Broadway worked on Hair in Los Angeles, Chicago and San Francisco, as the Broadway staging served as a rough template for these and other early regional productions. One notable addition to the team in Los Angeles was Tom Smothers, who served as co-producer.[36] Regional casts consisted mostly of local actors, although a few Broadway cast members reprised their roles in other cities.[37] O'Horgan or the authors sometimes took new ideas and improvisations from a regional show and brought them back to New York, such as when live chickens were tossed onto the stage in Los Angeles.[37]
It was rare for so many productions to run simultaneously during an initial Broadway run. Producer Michael Butler, who had declared that Hair is "the strongest anti-war statement ever written", said the reason that he opened so many productions was to influence public opinion against the Vietnam War and end it as soon as possible.[38]
London programme
West End[edit]
Hair opened at the Shaftesbury Theatre in London on September 27, 1968 with 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.[39] As with other early productions, the London show added a sprinkling of local allusions and other minor departures from the Broadway version.[40]
The original London tribe included Sonja Kristina, Peter Straker, Paul Nicholas, Melba Moore, Elaine Paige, Paul Korda, Marsha Hunt, Floella Benjamin, Alex Harvey, Oliver Tobias, Richard O'Brien and Tim Curry. This was Curry's first full-time theatrical acting role, where he met future Rocky Horror Show collaborator O'Brien.[41] Hair's engagement in London surpassed the Broadway production, running for 1,997 performances[40] until its closure was forced by the roof of the theatre collapsing in July 1973.[42]
Early international productions[edit]
The job of leading the foreign language productions of Hair was given to Bertrand Castelli, Butler's partner and executive producer of the Broadway show.[43] Castelli was a writer/producer who traveled in Paris art circles and rubbed elbows with Pablo Picasso and Jean Cocteau. Butler described him as a "crazy showman... the guy with the business suit and beads".[44] Castelli made the decision to do the show in the local language of each country at a time when Broadway shows were always done in English.[43] The translations followed the original script closely, and the Broadway stagings were used. Each script contained various local references, such as street names and the names or depictions of local politicians and celebrities. Castelli produced companies in France, Germany, Mexico and other countries, sometimes also directing the productions.[43]
A German production, directed by Castelli,[43] opened in 1968 in Munich;[45] the tribe included Donna Summer, Liz Mitchell and Donna Wyant. A successful Parisian production of Hair opened on June 1, 1969.[46] The original Australian production premiered in Sydney on June 6, 1969. It was produced by Harry M. Miller and directed by Jim Sharman, who also designed the production. The tribe included Keith Glass and then Reg Livermore as Berger, John Waters as Claude and Sharon Redd as The Magician. Redd was one of six African-Americans brought to Australia to provide a racially integrated tribe.[47][48] The production broke local box-office records and ran for two years, but because of some of the language in the show, the cast album was banned in Queensland and New Zealand. It transferred to Melbourne in 1971 and then had a national tour. The production also marked the stage debut of Boston-born Australian vocalist Marcia Hines.[48] In Mexico the production was banned by the government after one night in Acapulco.[49] An 18-year-old Sônia Braga appeared in the 1969 Brazilian production.[50]
Another notable production was in the former Yugoslavia (Belgrade), the first Hair to be produced in a communist country.[51] Directed by local female producer-director Mira Trailović[52] and attended by president Tito, the Belgrade production was a favorite of authors Rado and Ragni, with Ragni declaring "there's no middle class prejudices here". Local references added to the script included barbs aimed at Mao Zedong as well as Albania, Yugoslavia's traditional rival.[43]
By 1970, Hair was a huge financial success, and nineteen productions had been staged outside of North America. In addition to those named above, these included productions in Scandinavia, South America, Italy, Israel, Japan, Canada, the Netherlands, Switzerland and Austria.[30] According to Billboard, the various productions of the show were raking 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."[53]
Themes[edit]
Hair explores many of the themes of the hippie movement of the 1960s. Theatre writer Scott Miller described these themes in terms of the hippies' goals, targets and beliefs, as follows:
[T]he youth of America, especially those on college campuses, started protesting all the things that they saw wrong with America: racism, environmental destruction, poverty, sexism and sexual repression, violence at home and the war in Vietnam, depersonalization from new technologies, and corruption in politics.... Contrary to popular opinion, the hippies had great respect for America and believed that they were the true patriots, the only ones who genuinely wanted to save our country and make it the best it could be once again.... [Long] hair was the hippies' flag – their... symbol not only of rebellion but also of new possibilities, a symbol of the rejection of discrimination and restrictive gender roles (a philosophy celebrated in the song "My Conviction"). It symbolized equality between men and women. In addition... the hippies' chosen clothing also made statements. Drab work clothes (jeans, work shirts, pea coats) were a rejection of materialism. Clothing from other cultures, particularly the Third World and native Americans, represented their awareness of the global community and their rejection of U.S. imperialism and selfishness. Simple cotton dresses and other natural fabrics were a rejection of synthetics, a return to natural things and simpler times. Some hippies wore old World War II or Civil War jackets as way of co-opting the symbols of war into their newfound philosophy of nonviolence.[54]
Race and the tribe[edit]
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.[55] Except for satirically in skits, the roles for the black members of the tribe portrayed them as equals, breaking away from the traditional roles for blacks in entertainment as slaves or servants.[56] An Ebony magazine article declared that the show was the biggest outlet for black actors in the history of the U.S. stage.[55]
Several songs and scenes from the show address racial issues.[54] "Colored Spade", which introduces the character Hud, a militant black male, is a long list of racial slurs ("jungle bunny... little black sambo") topped off with the declaration that Hud is the "president of the United States of love".[57] At the end of his song, he tells the tribe that the "boogie man" will get them, as the tribe pretends to be frightened.[56] "Dead End", sung by black tribe members, is a list of street signs that symbolize black frustration and alienation ("keep out... mad dog... hands off"). One of the tribe's protest chants is "What do we think is really great? To bomb, lynch and segregate!"[56] "Black Boys/White Boys" is an exuberant acknowledgement of miscegenation;[58] the U.S. Supreme Court had struck down laws against the practice in 1967.[59] Another of the tribe's protest chants is "Black, white, yellow, red. Copulate in a king-sized bed."[56]
"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.[60] 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, fryin' mothers oats and grease" and "I's free now thanks to y'all Master Lincoln". The Lincoln character then recites a modernized version of the Gettysburg Address, while a white female tribe member polishes Lincoln's shoes with her blond hair.[56]
The many references to Native Americans throughout the script are part of the anti-civilization, anti-consumerism, naturalism focus of the hippie movement and of Hair. The characters in the show are referred to as the "tribe", borrowing the term for Native American communities.[54] The cast of each production chooses a tribal name: "The practice is not just cosmetic ... the entire cast must work together, must like each other, and often within the show, must work as a single organism. All the sense of family, of belonging, of responsibility and loyalty inherent in the word "tribe" has to be felt by the cast."[54] 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. These exercises were based on techniques developed at the Esalen Institute and Polish Lab Theater.[24] The idea of Claude, Berger and Sheila living together is another facet of the 1960s concept of tribe.[61]
Nudity, sexual freedom and drug use[edit]
The brief nude scene at the end of Act I was a subject of controversy and notoriety.[1][62] Miller writes that "nudity was a big part of the hippie culture, both as a rejection of the sexual repression of their parents and also as a statement about naturalism, spirituality, honesty, openness, and freedom. The naked body was beautiful, something to be celebrated and appreciated, not scorned and hidden. They saw their bodies and their sexuality as gifts, not as 'dirty' things."[54]
Hair glorifies sexual freedom in a variety of ways. In addition to acceptance of miscegenation, mentioned above, the characters' lifestyle acts as a sexually and politically charged updating of La bohème; as Rado explained, "The love element of the peace movement was palpable."[4] In the song "Sodomy", Woof exhorts everyone to "join the holy orgy Kama Sutra".[63] Toward the end of Act 2, the tribe members reveal their free love tendencies when they banter back and forth about who will sleep with whom that night. As Clive Barnes wrote in his original New York Times review of Hair, "homosexuality is not frowned upon."[64] Woof has a crush on Mick Jagger, and a three-way embrace between Claude, Berger and Sheila turns into a Claude-Berger kiss.[56]
Various illegal drugs are taken by the characters during the course of the show, most notably a hallucinogen during the trip sequence.[54] The song "Walking in Space" starts off the sequence, and the lyrics celebrate the experience declaring "how dare they try to end this beauty ... in this dive we rediscover sensation ... our eyes are open, wide, wide, wide". Similarly, in the song "Donna", Berger sings that "I'm evolving through the drugs that you put down."[65] At another point, Jeanie smokes a marijuana cigarette and says that anyone who thinks "pot" is bad is "full of shit".[56] Generally, the tribe favors hallucinogenic or "mind expanding" drugs, such as LSD and marijuana,[66] while disapproving of other drugs such as speed and depressants. For example, Jeanie, after revealing that she is pregnant by a "speed freak", says that "methedrine is a bad scene".[56] The song "Hashish" provides a list of pharmaceuticals, both illegal and legal, including cocaine, alcohol, LSD, cough syrup, opium and Thorazine, which is used as an antipsychotic.[66]
Pacifism and environmentalism[edit]
The theme of opposition to the war that pervades the show is unified by the plot thread that progresses through the book – Claude's moral dilemma over whether to burn his draft card.[54] Pacifism is explored throughout the extended trip sequence in Act 2. The lyrics to "Three-Five-Zero-Zero", which is sung during that sequence, evoke the horrors of war ("ripped open by metal explosion").[67] The song is based on Allen Ginsberg's 1966 poem, "Wichita Vortex Sutra". In the poem, General Maxwell Taylor proudly reports to the press the number of enemy soldiers killed in one month, repeating it digit by digit, for effect: "Three-Five-Zero-Zero." The song begins with images of death and dying and turns into a manic dance number, echoing Maxwell's glee at reporting the enemy casualties, as the tribe chants "Take weapons up and begin to kill".[54] The song also includes the repeated phrase "Prisoners in niggertown/ It's a dirty little war".[56]
"Don't Put It Down" satirizes the unexamined patriotism of people who are literally "crazy" for the American flag.[68] "Be In (Hare Krishna)" praises the peace movement and events like the San Francisco and Central Park Be-Ins.[69] Throughout the show, the tribe chants popular protest slogans like "What do we want? Peace – When do we want it? Now!" and "Do not enter the induction center".[56] The upbeat song, "Let the Sun Shine In", is a call to action, to reject the darkness of war and change the world for the better.[54]
Hair also aims its satire at the pollution caused by our civilization.[54] Jeanie appears from a trap door in the stage wearing a gas mask and then sings the song "Air": "Welcome, sulfur dioxide. Hello carbon monoxide. The air ... is everywhere".[70] She suggests that pollution will eventually kill her, "vapor and fume at the stone of my tomb, breathing like a sullen perfume".[56] In a comic, pro-green vein, when Woof introduces himself, he explains that he "grows things" like "beets, and corn ... and sweet peas" and that he "loves the flowers and the fuzz and the trees".[56]
Religion and astrology[edit]
Religion appears both overtly and symbolically throughout the piece, and it is often made the brunt of a joke.[54] Berger sings of looking for "my Donna", which takes on the double meaning of the woman he's searching for and the Madonna.[71] During "Sodomy", a hymn-like paean to all that is "dirty" about sex, the cast strikes evocative religious positions: the Pietà and Christ on the cross.[71] Before the song, Woof recites a modified rosary. In Act II, when Berger gives imaginary pills to various famous figures, he offers "a pill for the Pope".[56] In "Going Down", after being kicked out of school, Berger compares himself to Lucifer: "Just like the angel that fell / Banished forever to hell / Today have I been expelled / From high school heaven."[72] Claude becomes a classic Christ figure at various points in the script.[73] In Act I, Claude enters, saying, "I am the Son of God. I shall vanish and be forgotten," then gives benediction to the tribe and the audience. Claude suffers from indecision, and, in his Gethsemane at the end of Act I, he asks "Where Do I Go?". There are textual allusions to Claude being on a cross, and, in the end, he is chosen to give his life for the others.[73] Berger can be seen as a John the Baptist figure, preparing the way for Claude.[54]
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.[74] "Aquarius" was the result of Rado's research into his own astrological sign.[75] The company's astrologer, Maria Crummere, was consulted about casting:[76] Sheila was usually played by a Libra or Capricorn and Berger by a Leo,[75] although Ragni, the original Berger, was a Virgo.[77] Crummere was also consulted when deciding when the show would open on Broadway and in other cities.[49] The 1971 Broadway Playbill reported that she chose April 29, 1968 for the Broadway premiere. "The 29th was auspicious ... because the moon was high, indicating that people would attend in masses. The position of the 'history makers' (Pluto, Uranus, Jupiter) in the 10th house made the show unique, powerful and a money-maker. And the fact that Neptune was on the ascendancy foretold that Hair would develop a reputation involving sex."[78]
In Mexico, where Crummere did not pick the opening date, the show was closed down by the government after one night.[49] She was not pleased with the date of the Boston opening (where the producers were sued over the show's content)[79][80] saying, "Jupiter will be in opposition to naughty Saturn, and the show opens the very day of the sun's eclipse. Terrible." But there was no astrologically safe time in the near future.[81]
Literary themes and symbolism[edit]
Hair makes many references to Shakespeare's plays, especially Romeo and Juliet and Hamlet, and, at times, takes lyrical material directly from Shakespeare.[54] 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, 111–14).[82] According to Miller, the Romeo suicide imagery makes the point that, with our complicity in war, we are killing ourselves.[54]
Symbolically, the running plot of Claude's indecision, especially his resistance to burning his draft card, which ultimately causes his demise, has been seen as a parallel to Hamlet: "the melancholy hippie".[83] The 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". According to Public Theater Artistic Director Oskar Eustis, "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."[84]
Other literary references include the song "Three-Five-Zero-Zero", based on Ginsberg's poem "Wichita Vortex Sutra",[85] and, in the psychedelic drug trip sequence, the portrayal of Scarlett O'Hara, from Gone with the Wind, and activist African-American poet LeRoi Jones.[56]
Dramatics[edit]
In his introduction to the published script of Viet Rock, Richard Schechner says, "performance, action, and event are the key terms of our theatre – and these terms are not literary."[86] In the 1950s, Off-off Broadway theaters began experimenting with non-traditional theater roles, blurring the lines between playwright, director, and actor. The playwright's job was not just to put words on a page, but to create a theatrical experience based on a central idea. By 1967, theaters such as The Living Theatre, La MaMa E.T.C. and The Open Theatre were actively devising plays from improvisational scenes crafted in the rehearsal space, rather than following a traditional script.[87]
Viet Rock and Hair[edit]
Megan Terry's Viet Rock was created using this improvisational process.[87] Scenes in Viet Rock were connected in "prelogical ways": a scene could be built from a tangent from the scene before, it could be connected psychologically, or it could be in counterpoint to the previous scene.[87] Actors were asked to switch roles in the middle of a show, and frequently in mid-scene. In her stage directions for a Senate hearing scene in Viet Rock, Terry wrote, "The actors should take turns being senators and witnesses; the transformations should be abrupt and total. When the actor is finished with one character he becomes another, or just an actor."[87]
Hair was designed in much the same way. Tom O'Horgan, the show's Broadway director, was intimately involved in the experimental theatre movement.[54] In the transition to Broadway, O'Horgan and the writers rearranged scenes to increase the experimental aspects of the show.[87] Hair asks its actors to assume several different characters throughout the course of the piece, and, as in Claude's psychedelic trip in Act 2, sometimes during the same scene. Both Hair and Viet Rock include rock music, borrowed heavily from mass media, and frequently break down the invisible "fourth wall" to interact with the audience. For example, in the opening number, the tribe mingles with audience members, and at the end of the show, the audience is invited on stage.[87]
Production design[edit]
In the original Broadway production, the stage 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. Wagner's 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 had gathered from the streets of New York. These included a life-size papier-mâché bus driver, the head of Jesus, and a neon marquee of the Waverly movie theater in Greenwich Village.[88] Potts' costumes were based on hippie street clothes, made more theatrical with enhanced color and texture. Some of these included mixed parts of military uniforms, bell bottom jeans with Ukrainian embroidery, tie dyed t-shirts and a red white and blue fringed coat.[88] Early productions were primarily reproductions of this basic design.
Nude scene[edit]
"Much has been written about that scene ... most of it silly," wrote Gene Lees in High Fidelity.[89] The scene was inspired by two men who took off their clothes to antagonize the police during an informal anti-war gathering.[7] During "Where Do I Go?", the stage was covered in a giant scrim, beneath which those choosing to participate in the scene removed their clothes. At the musical cue, "they [stood] naked and motionless, their bodies bathed in Fisher's light projection of floral patterns. They chant[ed] of 'beads, flowers, freedom, and happiness.'"[90] It lasted only twenty seconds.[91] Indeed, the scene happened so quickly and was so dimly lit that it prompted Jack Benny, during the interval at a London preview, to quip, "Did you happen to notice if any of them were Jewish?"[92] Nevertheless, the scene prompted threats of censorship and even violent reactions in some places.[8]
The nudity was optional for the performers. The French cast was "the nudest" of the foreign groups, while the London cast "found the nudity the hardest to achieve."[52] The Swedish cast was reluctant to disrobe, but in Copenhagen, the tribe thought the nudity too tame and decided to walk naked up and down the aisle during the show's prelude.[43] In some early performances, the Germans played their scene behind a big sheet labeled "CENSORED".[43][52] Original Broadway cast member Natalie Mosco said, "I was dead set against the nude scene at first, but I remembered my acting teacher having said that part of acting is being private in public. So I did it."[93] According to Melba Moore, "It doesn't mean anything except what you want it to mean. We put so much value on clothing our bodies, but it doesn't mean a damn thing. It's like so much else people get uptight about. Sure, I was scared the first time. I thought 'Everybody's looking at me. I've got no protection.' Now I'm still kind of surprised that I'm standin' there naked, but I'm not embarrassed, the audience is."[94] Donna Summer, who was in the German production, said that "it was not meant to be sexual in any way. We stood naked to comment on the fact that society makes more of nudity than killing. We worry more about someone walking around half dressed than somebody who's walking around shooting people."[7] Rado said that "being naked in front of an audience, you're baring your soul. Not only the soul but the whole body was being exposed. It was very apt, very honest and almost necessary."[7]
Music[edit]
In these two measures of "What a Piece of Work Is Man", the red notes indicate a weak syllable on a strong beat.
After studying the music of the Bantu at Cape Town University,[54] MacDermot incorporated African rhythms into the score of Hair.[9] He listened to "what [the Bantu] called quaylas... [which have a] very characteristic beat, very similar to rock. Much deeper though.... Hair is very African – a lot of [the] rhythms, not the tunes so much."[9] Quaylas stress beats on unexpected syllables, and this influence can be heard in songs like "What a Piece of Work Is Man" and "Ain't Got No Grass".[95] MacDermot said, "My idea was to make a total funk show. They said they wanted rock & roll – but to me that translated to 'funk.'"[96] That funk is evident throughout the score, notably in songs like "Colored Spade" and "Walking in Space".[96]
MacDermot has claimed that the songs "can't all be the same. You've got to get different styles.... I like to think they're all a little different."[4] As such, the music in Hair runs the gamut of rock: from the rockabilly sensibilities of "Don't Put it Down" to the folk rock rhythms of "Frank Mills" and "What a Piece of Work is Man". "Easy to be Hard" is pure rhythm and blues, and protest rock anthems abound: "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".[97] Scott 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."[54] Theatre historian John Kenrick explains the application of rock music to the medium of the stage:
The same hard rock sound that had conquered the world of popular music made its way to the musical stage with two simultaneous hits – Your Own Thing [and] Hair.... This explosion of revolutionary proclamations, profanity and hard rock shook the musical theatre to its roots.... Most people in the theatre business were unwilling to look on Hair as anything more than a noisy accident. 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."[98]
The music did not resonate with everyone. Leonard Bernstein remarked "the songs are just laundry lists"[99] and walked out of the production.[100] Richard Rodgers could only hear the beat and called it "one-third music".[99] 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."[101] Gene Lees, writing for High Fidelity, claimed that John Lennon found it "dull", and he wrote, "I do not know any musician who thinks it's good."[89]
Songs[edit]
The score had many more songs than were typical of Broadway shows of the day.[5] Most Broadway shows had about six to ten songs per act; Hair's total is in the thirties.[102] This list reflects the most common Broadway lineup.[103]
Act IAquarius – Tribe and soloist (often Dionne)
Donna – Berger and Tribe
Hashish – Tribe
Sodomy – Woof and Tribe
I'm Black/Colored Spade – Hud, Woof, Berger, Claude and Tribe
Manchester England – Claude and Tribe
Ain't Got No – Woof, Hud, Dionne and Tribe
I Believe in Love – Sheila and Tribe trio
Air – Jeanie, 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
Act IIElectric 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 Sunshine In) – Claude, Sheila, Dionne and Tribe
The show was under almost perpetual re-write. Thirteen songs were added between the production at the Public Theater and Broadway, including "I Believe in Love".[103] "The Climax" and "Dead End" were cut between the productions, and "Exanaplanetooch" and "You Are Standing on My Bed" were present in previews but cut before Broadway. The Shakespearean speech "What a piece of work is a man" was originally spoken by Claude and musicalized by MacDermot for Broadway, and "Hashish" was formed from an early speech of Berger's.[103] Subsequent productions have included "Hello There", "Dead End",[103] and "Hippie Life" – a song originally written for the film that Rado included in several productions in Europe in the mid-nineties.[104] The current Broadway revival includes the ten-second "Sheila Franklin" and "O Great God of Power",[105] two songs that were cut from the original production.
Recordings[edit]
The first recording of Hair was made in 1967 featuring the off-Broadway cast. The original Broadway cast recording received a Grammy Award in 1968 for Best Score from an Original Cast Show Album[30] and sold nearly 3 million copies in the U.S. by December 1969.[49] The New York Times noted in 2007 that "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 that, like all good pop, has an appeal that transcends particular tastes for genre or period."[16] The 1993 London revival cast album contains new music that has been incorporated into the standard rental version.[54]
RCA also released DisinHAIRited (RCA LSO-1163): an album of songs that had been written for the show, but saw varying amounts of stage time. Some of the songs were cut between the Public and Broadway, some had been left off the original cast album due to space, and a few were never performed onstage.[103]
One Thousand-Year-Old Man
So Sing the Children of the Avenue
Manhattan Beggar
Sheila Franklin/Reading the Writing
Washing the World
Exanaplanetooch
Hello There
Mr. Berger
I'm Hung
The Climax
Electric Blues
I Dig
Going Down
You Are Standing on My Bed
The Bed
Mess O' Dirt
Dead End
Oh Great God of Power
Eyes Look Your Last/Sentimental Ending
Songs from Hair have been recorded by numerous artists,[106] including Shirley Bassey, Barbra Streisand and Diana Ross.[107] "Good Morning Starshine" was sung on a 1969 episode of Sesame Street by cast member Bob McGrath,[108] and versions by artists such as Sarah Brightman, Petula Clark, and Strawberry Alarm Clock have been recorded.[109] Artists as varied as Liza Minnelli and The Lemonheads have recorded "Frank Mills",[110] and Andrea McArdle, Jennifer Warnes, and Sérgio Mendes have each contributed versions of "Easy to be Hard".[111] Hair also helped launch recording careers for performers Meat Loaf, Dobie Gray, Jennifer Warnes, Jobriath, Bert Sommer, Ronnie Dyson, Donna Summer and Melba Moore, among others.[53]
The score of Hair saw chart successes, as well. The 5th Dimension released "Aquarius/Let the Sunshine In" in 1969, which won Record of the Year[112] and topped the charts for six weeks. The Cowsills' recording of the title song "Hair" climbed to #2 on the Billboard Hot 100.[113] while Oliver's rendition of "Good Morning Starshine" reached #3.[114] Three Dog Night's version of "Easy to Be Hard" went to #4.[115] Nina Simone's 1968 medley of "Ain't Got No / I Got Life" reached the top 5 on the British charts.[116] In 1970, ASCAP announced that "Aquarius" was played more frequently on U.S. radio and television than any other song that year.[117]
Productions in England, Germany, France, Sweden, Japan, Israel, Holland, Australia and elsewhere released cast albums,[118] and over 1,000 vocal and/or instrumental performances of individual songs from Hair have been recorded.[30] Such broad attention was paid to the recordings of Hair that, after an unprecedented bidding war, ABC Records was willing to pay a record amount for MacDermot's next Broadway adaptation Two Gentlemen of Verona.[119] The 2009 revival recording, released on June 23, debuted at #1 on Billboard's "Top Cast Album" chart and at #63 in the Top 200, qualifying it as the highest debuting album in Ghostlight Records history.[120]
Critical reception[edit]
Reception to Hair upon its Broadway premiere was, with exceptions, overwhelmingly positive. Clive Barnes wrote in the New York Times: "What is so likable about Hair...? I think it is simply that it is so likable. So new, so fresh, and so unassuming, even in its pretensions."[64] John J. O'Connor of The Wall Street Journal said the show was "exuberantly defiant and the production explodes into every nook and cranny of the Biltmore Theater".[121] 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."[122]
Television reviews were even more enthusiastic. Allan Jeffreys of ABC said the actors were "the most talented hippies you'll ever see... directed in a wonderfully wild fashion by Tom O'Horgan."[123] 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".[124] John Wingate of WOR TV praised MacDermot's "dynamic score" that "blasts and soars",[125] 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."[126]
A reviewer from Variety, on the other hand, 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."[127] Reviews in the news weeklies were mixed; Jack Kroll in Newsweek 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."[128] But a reviewer from Time 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."[129]
Reviews were mixed when Hair opened in London. Irving Wardle in 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 agreed that Hair was "not only a wildly enjoyable evening, but a thoroughly moral one." However, in his final review before retiring after 48 years, 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."[130]
Acknowledging the show's critics, Scott Miller wrote in 2001 that "some people can't see past the appearance of chaos and randomness to the brilliant construction and sophisticated imagery underneath."[54] Miller notes, "Not only did many of the lyrics not rhyme, but many of the songs didn't really have endings, just a slowing down and stopping, so the audience didn't know when to applaud.... The show rejected every convention of Broadway, of traditional theatre in general, and of the American musical in specific. And it was brilliant."[54]
Awards and nominations[edit]
Year
Award
Category
Nominee
Result
1968 Tony Awards Best Musical Nominated
Best Direction of a Musical Tom O'Horgan Nominated
1969 Grammys Best Score From an Original Cast Show Album Galt MacDermot, Gerome Ragni, & James Rado, composers. Andy Wiswell, producer. Won
2009 Drama Desk Awards Outstanding Revival of a Musical Won
Outstanding Actor in a Musical Will Swenson Nominated
Outstanding Choreography Karole Armitage Nominated
Outstanding Costume Design Michael McDonald Nominated
Outstanding Lighting Design in a Musical Kevin Adams Nominated
Outstanding Director of a Musical Diane Paulus Nominated
Tony Awards Best Revival of a Musical Won
Best Performance by a Leading Actor in a Musical Gavin Creel Nominated
Best Performance by a Featured Actor in a Musical Will Swenson Nominated
Best Costume Design of a Musical Michael McDonald Nominated
Best Lighting Design of a Musical Kevin Adams Nominated
Best Sound Design of a Musical Acme Sound Partners Nominated
Best Direction of a Musical Diane Paulus Nominated
Best Choreography Karole Armitage Nominated
Social change[edit]
Excerpts from "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 held by Western society in 1968. The name itself, inspired by the name of a Jim Dine painting depicting a comb and a few strands of hair,[5][131] was a reaction to the restrictions of civilization and consumerism and a preference for naturalism.[132] Rado remembers 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."[131]
The musical caused controversy when it was first staged. The Act I finale was the first time a Broadway show had seen totally naked actors and actresses,[1] and the show was charged with the desecration of the American flag and the use of obscene language.[8][133] These controversies, in addition to the anti–Vietnam War theme, attracted occasional threats and acts of violence during the show's early years and became the basis for legal actions both when the show opened in other cities and on tour. Two cases eventually reached the U.S. Supreme Court.
Legal challenges and violent reactions[edit]
The touring company of Hair met with resistance throughout the United States. In South Bend, Indiana, the Morris Civic Auditorium refused booking,[134] and in Evansville, Indiana, the production was picketed by several church groups.[135] In Indianapolis, Indiana, the producers had difficulty securing a theater, and city authorities suggested that the cast wear body stockings as a compromise to the city's ordinance prohibiting publicly displayed nudity.[134] Productions were frequently confronted with the closure of theaters by the fire marshal, as in Gladewater, Texas.[136] Chattanooga's 1972 refusal to allow the play to be shown at the city-owned Memorial Auditorium[137][138] was later found by the U.S. Supreme Court to be an unlawful prior restraint.[139]
The legal challenges against the Boston production were appealed to the U.S. Supreme Court. The Chief of the Licensing Bureau took exception to the portrayal of the American flag in the piece,[140] saying, "anyone who desecrates the flag should be whipped on Boston Common."[79] Although the scene was removed before opening, the District Attorney's office began plans to stop the show, claiming that "lewd and lascivious" actions were taking place onstage. The Hair legal team obtained an injunction against criminal prosecution from the Superior Court,[141] and the D.A. appealed to the Massachusetts Supreme Judicial Court. At the request of both parties, several of the justices viewed the production and handed down a ruling that "each member of the cast [must] be clothed to a reasonable extent." The cast defiantly played the scene nude later that night, stating that the ruling was vague as to when it would take effect.[79] The next day, April 10, 1970, the production closed, and movie houses, fearing the ruling on nudity, began excising scenes from films in their exhibition. After the Federal appellate bench reversed the Massachusetts court's ruling, the D.A. appealed the case to the U.S. Supreme Court. In a 4–4 decision, the Court upheld the lower court's decision, allowing Hair to re-open on May 22.[80]
In April 1971, a bomb was thrown at the exterior of a theater in Cleveland, Ohio that had been housing a production, bouncing off the marquee and shattering windows in the building and in nearby storefronts.[142] That same month, the families of cast member Jonathon Johnson and stage manager Rusty Carlson died in a fire in the Cleveland hotel where 33 members of the show's troupe had been staying.[143][144] The Sydney, Australia production's opening night was interrupted by a bomb scare in June 1969.[145]
Worldwide reactions[edit]
Local reactions to the controversial material varied greatly. San Francisco's large hippie population considered the show an extension of the street activities there, often blurring the barrier between art and life by meditating with the cast and frequently finding themselves onstage during the show.[37] An 18-year-old Princess Anne was seen dancing onstage in London,[146] and in Washington DC, Henry Kissinger attended. In St. Paul, Minnesota, a protesting clergyman released 18 white mice into the lobby hoping to frighten the audience.[37] Capt. Jim Lovell and Jack Swigert, after dubbing 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.[147]
An Acapulco, Mexico production of Hair, directed by Castelli,[43] played in 1969 for one night. After the performance, the theater, located across the street from a popular local bordello, was padlocked by the government, which said the production was "detrimental to the morals of youth."[78] The cast was arrested soon after the performance and taken to Immigration, where they agreed to leave the country, but because of legal complications they were forced to go into hiding.[148] They were expelled from Mexico days later.[149]
Hair effectively marked the end of stage censorship in the United Kingdom.[130] London's stage censor, the Lord Chamberlain, originally refused to license the musical, and the opening was delayed until Parliament passed a bill stripping him of his licensing power.[130] In Munich, authorities threatened to close the production if the nude scene remained; however, after a local Hair spokesman declared that his relatives had been marched nude into Auschwitz, the authorities relented.[43] In Bergen, Norway, local citizens formed a human barricade to try to prevent the performance.[43]
The Parisian production encountered little controversy, and the cast disrobed for the nude scene "almost religiously" according to Castelli, nudity being common on stage in Paris.[150] Even in Paris there was nevertheless occasional opposition, however, such as when a member of the local Salvation Army used a portable loud speaker to exhort the audience to halt the presentation.[43][151]
Beyond the 1960s[edit]
1979 movie poster.
1970s[edit]
See also: Hair (film)
A Broadway revival of Hair opened in 1977 for a run of 43 performances. It was produced by Butler, directed by O'Horgan and performed in the Biltmore Theater, where the original Broadway production had played. The cast included Ellen Foley and Annie Golden.[152] Newcomer Peter Gallagher left the ensemble during previews to take the role of Danny Zuko in a tour of Grease.[153] Reviews were generally negative, and critics accused the production of "showing its gray".[154] Few major revivals of Hair followed until the early 1990s.
A movie version of Hair, with a screenplay by Michael Weller, was directed by Miloš Forman and released in 1979. Filmed primarily in New York City's Central Park and Washington Square Park,[155] the cast includes Treat Williams, Beverly D'Angelo, John Savage, Foley and Golden.[156] Several of the songs were deleted, and the film's storyline departs significantly from the musical. The character of 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. In perhaps the greatest diversion from the stage version, a mistake leads Berger to go to Vietnam in Claude's place, where he is killed.[157]
Rado and Ragni were unhappy with the film, feeling that Forman portrayed the hippies as "oddballs" and "some sort of aberration" without any connection to the peace movement, failing to capture the essence of the original stage production.[158] They stated: "Any resemblance between the 1979 film and the original Biltmore version, other than some of the songs, the names of the characters, and a common title, eludes us."[158] In their view, the screen version of Hair has not yet been produced.[158]
However, the film received generally favorable reviews.[159] Writing in The New York Times, Vincent Canby called it "a rollicking musical memoir.... Weller's inventions make this Hair seem much funnier than I remember the show's having been. They also provide time and space for the development of characters who, on the stage, had to express themselves almost entirely in song.... [T]he entire cast is superb.... Mostly... the film is a delight."[160]
1980s and 1990s[edit]
A 20th anniversary concert event was held in May 1988 at the United Nations General Assembly to benefit children with AIDS.[161] The event was sponsored by First Lady Nancy Reagan with Barbara Walters giving the night's opening introduction.[162] Rado, Ragni and MacDermot reunited to write nine new songs for the concert. The cast of 163 actors included former stars from various productions around the globe: Melba Moore, Ben Vereen, Treat Williams and Donna Summer, as well as guest performers Bea Arthur, Frank Stallone and Dr. Ruth Westheimer. Ticket prices ranged from $250 to $5,000 and the proceeds went to the United States Committee for UNICEF and the Creo Society's Fund for Children with AIDS.[162]
A 1985 production of Hair mounted in Montreal was reportedly the 70th professional production of the musical.[30] In November 1988, Michael Butler produced Hair at Chicago's Vic Theater to celebrate the shows' 20th anniversary. The production was well received and ran until February 1989.[162] From 1990 to 1991, Pink Lace Productions ran a U.S. national tour of Hair that included stops in South Carolina, Georgia, Tennessee and Kentucky.[162] After Ragni died in 1991, MacDermot and Rado continued to write new songs for revivals through the 1990s. Hair Sarajevo, AD 1992 was staged during the Siege of Sarajevo as an appeal for peace.[30] Rado directed a $1 million, 11 city national tour in 1994 that featured actor Luther Creek. With MacDermot returning to oversee the music, Rado's tour celebrated the show's 25th anniversary.[163] A small 1990 "bus and truck" production of Hair toured Europe for over 3 years,[163] and Rado directed various European productions from 1995 to 1999.[104]
A production opened in Australia in 1992[164] and a short-lived London revival starring John Barrowman and Paul Hipp opened at the Old Vic in London in 1993, directed by Michael Bogdanov.[165][166] While the London production was faithful to the original, a member of the production staff said the reason it "flopped" was because the tribe consisted of "Thatcher's children who didn't really get it".[167] Other productions were mounted around the world, including South Africa, where the show had been banned until the eradication of Apartheid.[168] In 1996, Butler brought a month-long production to Chicago, employing the Pacific Musical Theater, a professional troupe in residence at California State University, Fullerton. Butler ran the show concurrently with the 1996 Democratic National Convention, echoing the last time the DNC was in Chicago: 1968.[169] A 30th Anniversary Off-Off Broadway production was staged at Third Eye Repertory. It was directed by Shawn Rozsa.[170]
2000s[edit]
In 2001, the Reprise! theatre company in Los Angeles performed Hair at the Wadsworth Theatre, starring Steven Weber as Berger, Sam Harris as Claude and Jennifer Leigh Warren as Sheila.[171] That same year, Encores! Great American Musicals in Concert ended its 2001 City Center season with a production of Hair starring Luther Creek, Idina Menzel and Tom Plotkin, and featuring Hair composer Galt MacDermot on stage playing the keyboards.[172] An Actors' Fund benefit of the show was performed for one night at the New Amsterdam Theater in New York City in 2004. The Tribe included Shoshana Bean, Raul Esparza, Jim J. Bullock, Liz Callaway, Gavin Creel, Eden Espinosa, Harvey Fierstein, Ana Gasteyer, Annie Golden, Jennifer Hudson, Julia Murney, Jai Rodriguez, RuPaul, Michael McKean, Laura Benanti and Adam Pascal.[173]
In 2005, a London production opened at the Gate Theatre, directed by Daniel Kramer. James Rado approved an updating of the musical's script to place it in the context of the Iraq War instead of the Vietnam War.[174] Kramer's modernized interpretation included "Aquarius" sung over a megaphone in Times Square, and nudity that called to mind images from Abu Ghraib.[175] In March 2006, Rado collaborated with director Robert Prior for a CanStage production of Hair in Toronto,[176] and a revival produced by Pieter Toerien toured South Africa in 2007. Directed by Paul Warwick Griffin, with choreography by Timothy Le Roux, the show ran at the Montecasino Theatre in Johannesburg and at Theatre on the Bay in Cape Town.[177] A two-week run played at the Teatro Tapia in Old San Juan, Puerto Rico, in March 2010, directed by Yinoelle Colón.[178]
Michael Butler produced Hair at the MET Theatre in Los Angeles from September 14 through December 30, 2007. The show was directed and choreographed by Bo Crowell, with musical direction from Christian Nesmith (son of Michael Nesmith).[179][180] Butler's production of Hair won the LA Weekly Theater Award for Musical of the Year.[181]
It was a show about now when we did it. Now it's a show about then – but it's still about now.
James Rado, 2008[131]
For three nights in September 2007, Joe's Pub and the Public Theater presented a 40th anniversary production of Hair at the Delacorte Theater in Central Park. This concert version, directed by Diane Paulus, featured Jonathan Groff as Claude and Galt MacDermot on stage on the keyboards. The cast also included Karen Olivo as Sheila and Will Swenson as Berger.[182] Actors from the original Broadway production joined the cast on stage during the encore of "Let the Sun Shine In." Demand for the show was overwhelming, as long lines and overnight waits for tickets far exceeded that for other Delacorte productions such as Mother Courage and Her Children starring Meryl Streep and Kevin Kline.[183]
2009 Broadway revival poster
Nine months later, The Public Theater presented a fully staged production of Hair at the Delacorte in a limited run from July 22, 2008 to September 14, 2008.[184] Paulus again directed, with choreography by Karole Armitage. Groff and Swenson returned as Claude and Berger, together with others from the concert cast.[185] Caren Lyn Manuel played Sheila, and Christopher J. Hanke replaced Groff as Claude on August 17.[186] Reviews were generally positive, with Ben Brantley of The New York Times writing that "this production establishes the show as more than a vivacious period piece. Hair, it seems, has deeper roots than anyone remembered".[187] 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."[3]
2009 Broadway revival and 2010 U.S. National Tour[edit]
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.[188] The opening cast included Gavin Creel as Claude, Will Swenson as Berger, Caissie Levy as Sheila, Megan Lawrence as Mom and Sasha Allen as Dionne.[189] Designers included Scott Pask (sets), Michael McDonald (costumes) and Kevin Adams (lighting).[190]
Critical response was almost uniformly positive.[191] The New York Daily News headline proclaimed "Hair Revival's High Fun". The review praised the daring direction, "colorfully kinetic" choreography and technical accomplishments of the show, especially the lighting, commening that "as a smile-inducing celebration of life and freedom, [Hair is] highly communicable"; but warning: "If you're seated on the aisle, count on [the cast] to be in your face or your lap or ... braiding your tresses."[192] The New York Post wrote that the production "has emerged triumphant.... These days, the nation is fixated less on war and more on the economy. As a result, the scenes that resonate most are the ones in which the kids exultantly reject the rat race."[193] Variety enthused, "Director Diane Paulus and her prodigiously talented cast connect with the material in ways that cut right to the 1967 rock musical's heart, generating tremendous energy that radiates to the rafters. ... What could have been mere nostalgia instead becomes a full-immersion happening. ... If this explosive production doesn't stir something in you, it may be time to check your pulse."[194] The Boston Globe dissented, saying that the production "felt canned" and "overblown" and that the revival "feels unbearably naive and unforgivably glib".[195] Ben Brantley, writing for The New York Times, reflected the majority, however, delivering a glowing review:
Having moved indoors to Broadway from the Delacorte Theater ... the young cast members ... show no signs of becoming domesticated. On the contrary, they’re tearing down the house. ... This emotionally rich revival ... delivers what Broadway otherwise hasn't felt this season: the intense, unadulterated joy and anguish of that bi-polar state called youth. ... Karole Armitage's happy hippie choreography, with its group gropes and mass writhing, looks as if it's being invented on the spot. But there's intelligent form within the seeming formlessness. ... [Paulus finds] depths of character and feeling in [the 1968 show about kids] frightened of how the future is going to change them and of not knowing what comes next. ... Every single ensemble member emerges as an individual. ... After the show I couldn’t stop thinking about what would happen to [the characters]. Mr. MacDermot's music, which always had more pop than acid, holds up beautifully, given infectious life by the onstage band and the flavorfully blended voices of the cast.[196]
"Easy to be Hard"
From the 2009 revival recording.
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The Public Theater struggled to raise the $5.5 million budgeted for the Broadway transfer, because of the severity of the economic recession in late 2008, but it reached its goal by adding new producing partners. Director Diane Paulus helped keep costs low by using an inexpensive set. The show grossed a healthy $822,889 in its second week.[197][198] 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.[199] The production won the Tony Award for Best Revival of a Musical,[200] the Drama Desk Award for Outstanding Revival of a Musical[201] and the Drama League Award for Distinguished Revival of a Musical.[202] Its cast album won the Grammy Award for Best Musical Show Album.[203] By August 2009, the revival had recouped its entire $5,760,000 investment, becoming one of the fastest-recouping musicals in Broadway history.[204]
When the Broadway cast transferred to London for the 2010 West-End revival, a mostly new tribe took over on Broadway on March 9, 2010, including former American Idol finalists Ace Young as Berger and Diana DeGarmo as Sheila. Kyle Riabko assumed the role of Claude, and Annaleigh Ashford played Jeanie.[205] Sales decreased after the original cast transferred to London, and the revival closed on June 27, 2010 after 29 previews and 519 regular performances.[206][207]
A U.S. National Tour of the production began on October 21, 2010. Principals included Steel Burkhardt as Berger, Paris Remillard as Claude and Caren Lyn Tackett as Sheila.[208] The tour received mostly positive reviews.[203] It had an engagement on Broadway at the St. James Theatre from July 5 through September 10, 2011. After that, it resumed touring.[209] The tour ended on January 29, 2012.[210]
2010 West End revival[edit]
The 2009 Broadway production was duplicated at the Gielgud Theatre in London's West End. Previews began on April 1, 2010 with an official opening on April 14. The producers were the Public Theater, together with Cameron Mackintosh and Broadway Across America. Nearly all of the New York cast relocated to London. A new addition to the London cast was Luther Creek as Woof.[211][212] The London revival closed on September 4, 2010.[213]
The production received mostly enthusiastic reviews. Michael Billington of The Guardian described it as "a vibrant, joyous piece of living theatre", writing, "it celebrates a period when the joy of life was pitted against the forces of intolerance and the death-dealing might of the military-industrial complex. As Shakespeare once said: 'There's sap in't yet.'"[214] Charles Spencer in The Daily Telegraph agreed: "This is a timely and irresistibly vital revival of the greatest of all rock musicals. ... The verve and energy of the company ... is irresistible."[215] 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".[216] In The Times, Benedict Nightingale commented that "it's exhilarating, as well as oddly poignant, when a multihued cast dressed in everything from billowing kaftans to Ruritanian army jackets race downstage while delivering that tuneful salute to an age of Aquarius that still refuses to dawn."[217] Quentin Letts was a dissenting voice in the Daily Mail. Though praising the performances and the production, he wrote: "by the end the fraudulence of the gaiety becomes sickening. There is a lack of truthfulness in Hair which may not have been apparent when it was first performed in New York City in 1967 but which, today, is unavoidable."[218]
International success[edit]
Hair has been performed in most of the countries of the world. After the Berlin Wall fell, the show traveled for the first time to Poland, Lebanon, the Czech Republic and Sarajevo (featured on ABC's Nightline with Ted Koppel, when Phil Alden Robinson visited that city in 1996 and discovered a production of Hair there in the midst of the war).[168] In 1999, Michael Butler and director Bo Crowell helped produce Hair in Russia at the Stas Namin Theatre located in Moscow's Gorky Park. The Moscow production caused a similar reaction as the original did 30 years earlier because Russian soldiers were fighting in Chechnya at the time.[219][220]
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."[168] Since then, an Indian production has been mounted.[221]
Cultural impact[edit]
Popular culture[edit]
The New York Times noted, in 2007, that "Hair was one of the last Broadway musicals to saturate the culture as shows from the golden age once regularly did."[16] Songs from the show continue to be recorded by major artists. In the 1990s, Evan Dando's group The Lemonheads recorded "Frank Mills" for their 1992 record It's A Shame About Ray, and Run DMC sampled "Where Do I Go" for their 1993 single "Down With the King" which went to #1 on the Billboard rap charts and reached the top 25 in the Billboard Hot 100 chart.[222][223] In 2004, "Aquarius" was honored at number 33 on AFI's 100 Years... 100 Songs.[224]
Butler (front) and Rado (behind Butler, in black t-shirt and cap) with a 2006 Hair cast in Red Bank, New Jersey
Songs from the musical have been featured in films and television episodes. For example, in the 2005 movie Charlie and the Chocolate Factory, the character Willy Wonka welcomed the children with lyrics from "Good Morning Starshine".[225] "Aquarius" was performed in the final episode of Laverne and Shirley in 1983, where the character Carmine moves to New York City to become an actor, and auditions for Hair.[226] "Aquarius/Let the Sunshine In" was also performed in the final scene in the film The 40-Year-Old Virgin,[227] and Three Dog Night's recording of "Easy to be Hard" was featured in the first part of David Fincher's film Zodiac.[228] On the Simpsons episode "The Springfield Files", the townspeople, Leonard Nimoy, Chewbacca, Dana Scully and Fox Mulder all sing "Good Morning Starshine."[229] The episode "Hairography" of the show Glee includes a much-criticized mash-up of the songs "Hair" and "Crazy in Love" by Beyoncé.[230] In addition, Head of the Class featured a two-part episode in 1990 where the head of the English department is determined to disrupt the school's performance of Hair.[231] The continued popularity of Hair is seen in its number ten ranking in a 2006 BBC Radio 2 listener poll of the "[United Kingdom]'s Number One Essential Musicals."[232]
Because of the universality of its pacifist theme, Hair continues to be a popular choice for high-school and university productions.[30] Amateur productions of Hair are also popular worldwide.[233] In 2002, Peter Jennings featured a Boulder, Colorado, high school production of Hair for his ABC documentary series "In Search of America".[234] A September 2006 community theater production at the 2,000-seat Count Basie Theater in Red Bank, New Jersey, was praised by original producer Michael Butler, who said it was "one of the best Hairs I have seen in a long time."[235] Another example of a recent large-scale amateur production is the Mountain Play production at the 4,000-seat Cushing Memorial Amphitheatre in Mount Tamalpais State Park in Mill Valley, California in the spring of 2007.[236]
Legacy[edit]
Hair was Broadway's first concept musical, a form that dominated the musical theatre of the seventies,[237] including shows like Company, Follies, Pacific Overtures and A Chorus Line.[237] While the development of the concept musical was an unexpected consequence of Hair's tenure on Broadway, the expected rock music revolution on Broadway turned out to be less than complete.[237]
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.[238] 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."[238] Jesus Christ Superstar (1970) and Godspell (1971) were two religiously themed successes of the genre. Grease (1971) reverted to the rock sounds of the 1950s, and black-themed musicals like The Wiz (1975) were heavily influenced by gospel, R&B and soul music. By the late 1970s, the genre had played itself out.[238] Except for a few outposts of rock, like Dreamgirls (1981) and Little Shop of Horrors (1982), audience tastes in the 1980s turned to megamusicals with pop scores, like Les Misérables (1985) and The Phantom of the Opera (1986).[239] Some later rock musicals, such as Rent (1996) and Spring Awakening (2006), as well as jukebox musicals featuring rock music, like We Will Rock You (2002) and Rock of Ages (2009), have found success. But the rock musical did not quickly come to dominate the musical theatre stage after Hair. Critic Clive Barnes commented, "There really weren't any rock musicals. No major rock musician ever did a rock score for Broadway. ... You might think of the musical Tommy, but it was never conceived as a Broadway show. ... And one can see why. There's so much more money in records and rock concerts. I mean, why bother going through the pain of a musical which may close in Philadelphia?"[238][240]
On the other hand, Hair had a profound effect not only on what was acceptable on Broadway, but as part of the very social movements that it celebrated. For example, in 1970, Butler, Castelli and the various Hair casts contributed to fundraising for the World Youth Assembly, a United Nations-sponsored organization formed in connection with the celebration of the 25th anniversary of the United Nations.[241] The Assembly enabled 750 young representatives from around the world to meet in New York in July 1970 to discuss social issues.[242][243] 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.[244] Tribe members and Hair crews also contributed a days' pay, and Butler contributed a days' profits from these productions.[241][242] Moreover, as Ellen Stewart, La MaMa's founder, noted:
Hair came with blue jeans, comfortable clothing, colors, beautiful colors, sounds, movement. ... And you can go to AT&T and see a secretary today, and she's got on blue jeans. ... You can go anywhere you want, and what Hair did, it is still doing twenty years later.... A kind of emancipation, a spiritual emancipation that came from [O'Horgan's] staging. ... Hair until this date has influenced every single thing that you see on Broadway, off-Broadway, off-off-Broadway, anywhere in the world, you will see elements of the experimental techniques that Hair brought not just to Broadway, but to the entire world.[245]
See also[edit]
List of plays with anti-war themes
References[edit]
Notes
1.^ Jump up to: a b c d Horn, pp. 87–88
2.^ Jump up to: a b c d e f Pacheco, Patrick (June 17, 2001). "Peace, Love and Freedom Party", Los Angeles Times, p. 1. Retrieved on June 10, 2008
3.^ Jump up to: a b Zoglin, Richard. "A New Dawn for Hair", Time magazine, July 31, 2008 (in the August 11, 2008 issue, pp. 61–63)
4.^ Jump up to: a b c d e f g h i Haun, Harry. "Age of Aquarius", Playbill, April 2009, from Hair at the Al Hirschfeld Theatre, p. 7
5.^ Jump up to: a b c d e Rado, James (February 14, 2003). "Hairstory – The Story Behind the Story", hairthemusical.com. Retrieved on April 11, 2008.
6.^ Jump up to: a b "Viet Rock". Lortel Archives: The Internet Off-Broadway Database. Retrieved on April 11, 2008.
7.^ Jump up to: a b c d e f g "40 years of 'Hair'". Newark Star-Ledger (July 19, 2008). Retrieved on July 26, 2008.
8.^ Jump up to: a b c d e Taylor, Kate (September 14, 2007). "The Beat Goes On". The New York Sun. Retrieved on May 27, 2008.
9.^ Jump up to: a b c Miller, pp. 54–56
10.Jump up ^ Horn, p. 23
11.Jump up ^ Gary Botting, The Theatre of Protest in America, Edmonton: Harden House, 1972
12.Jump up ^ Horn, pp. 18–19
13.Jump up ^ Horn, p. 27
14.Jump up ^ "Galt MacDermot Biography". musiciansguide.com. Retrieved on April 11, 2008.
15.Jump up ^ Whittaker, Herbert (May 1968). "Hair: The Musical That Spells Good-bye Dolly!". The Canadian Composer. Retrieved on April 18, 2008.
16.^ Jump up to: a b c d Isherwood, Charles (September 16, 2007). "The Aging of Aquarius". The New York Times. Retrieved on May 25, 2008.
17.Jump up ^ Horn, p. 34
18.Jump up ^ Horn, pp. 32–33
19.Jump up ^ Zolotow, Sam (January 23, 1968). "Hair Closes Sunday" The New York Times, reproduced at michaelbutler.com. Retrieved on May 23, 2009
20.^ Jump up to: a b Horn, pp. 39–40
21.Jump up ^ Planer, Lindsay. "Hair [Original 1967 Off-Broadway Cast]". Allmusic.com, accessed February 3, 2011
22.Jump up ^ Horn, p. 29
23.Jump up ^ Junker, Howard (June 3, 1968). "Director of the Year". Newsweek, orlok.com. Retrieved on April 11, 2008.
24.^ Jump up to: a b Horn, p. 53
25.Jump up ^ Horn, p. 42
26.^ Jump up to: a b c "Hair". Internet Broadway Database. Retrieved on April 11, 2008. Archived October 14, 2007 at the Wayback Machine
27.Jump up ^ "Producer Sues N.Y. Theatre League On Hair Exclusion as Tony Entry". Variety, michaelbutler.com (March 10, 1968). Retrieved on April 11, 2008.
28.Jump up ^ Zoltrow, Sam (March 22, 1968). "Happy Time Gets 10 Mentions Among Tony Award Candidates". New York Times, p. 59. Retrieved on April 11, 2008.
29.Jump up ^ "Past Winners, 1969". tonyawards.com. Retrieved on April 11, 2008
30.^ Jump up to: a b c d e f g King, Betty Nygaard. "Hair". Encyclopedia of Music in Canada. Historica Foundation of Canada. Retrieved on May 31, 2008.
31.Jump up ^ Johnson, p. 87
32.Jump up ^ Hair program, Detroit, 1970
33.Jump up ^ Johnson, p. 134
34.Jump up ^ Biographical notes in the Jesus Christ Superstar film souvenir booklet (1973)
35.Jump up ^ Johnson, p. 82
36.Jump up ^ Johnson, pp. 33, 81, 87–88
37.^ Jump up to: a b c d Horn, pp. 100–01
38.Jump up ^ Butler, Michael. "How and Why I Got Into Hair". Pages from Michael Butler's Journal. michaelbutler.com. Retrieved on April 11, 2008.
39.Jump up ^ Lewis, Anthony. "Londoners Cool To Hair's Nudity: Four Letter Words Shock Few at Musical's Debut", The New York Times, September 29, 1968
40.^ Jump up to: a b Horn, p. 105
41.Jump up ^ "Tim Curry – Actor". Edited Guide Entry. bbc.uk.co (January 2, 2007). Retrieved on April 11, 2008.
42.Jump up ^ "Shaftesbury Theatre, London". thisistheatre.com. Retrieved on April 17, 2008.
43.^ Jump up to: a b c d e f g h i j k Horn, pp. 103–10
44.Jump up ^ Horn, p. 37
45.Jump up ^ Blumenthal, Ralph (October 26, 1968). "Munich Audience Welcomes Hair; Applause and Foot Stamping Follow Musical Numbers". New York Times, p. 27. Retrieved on April 11, 2008.
46.Jump up ^ "Translated Hair Cheered in Paris; Title Lends Itself to Jest at Candidate's Expense". New York Times (June 2, 1969), p. 53. Retrieved on June 7, 2008.
47.Jump up ^ "Hair Reaches Australia", The New York Times (June 7, 1969), p. 26, reproduced at the Hair Online Archives. Retrieved on April 29, 2009.
48.^ Jump up to: a b Hair: Original Australian production, MILESAGO: Australasian Music & Popular Culture 1964–1975, accessed April 29, 2009.
49.^ Jump up to: a b c d "Hairzapoppin'". Time (December 12, 1969). Retrieved on May 29, 2008.
50.Jump up ^ Sonia Braga. Yahoo! Movies, accessed May 27, 2011
51.Jump up ^ "Hair Around the World". Newsweek, michaelbutler.com (July 7, 1969). Retrieved on April 11, 2008.
52.^ Jump up to: a b c Lemon, Richard. "Here, There, Everywhere Hair", Performing Arts Magazine, October 1969. Retrieved on July 28, 2008.
53.^ Jump up to: a b Gross, Mike (June 27, 1970). "Hair Is Doing Runaway Business as Score & Play". Billboard (michaelbutler.com). Retrieved April 18, 2008.
54.^ Jump up to: a b c d e f g h i j k l m n o p q r s t Miller, Scott (2001). "HAIR – An analysis by Scott Miller"; excerpt from Rebels with applause: Broadway's groundbreaking musicals. Portsmouth, NH: Heinemann. ISBN 0-325-00357-2
55.^ Jump up to: a b Horn, p. 134
56.^ Jump up to: a b c d e f g h i j k l m n Rado, James; Gerome Ragni [1966, 1969]. Hair, Original Script, Tams Whitmark.
57.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Lamont Washington (Vocalist). (1968). Hair [Audio Recording]. RCA Victor. Event occurs at Track 5, "Colored Spade".
58.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Diane Keaton, Suzannah Norstrand, Natalie Mosco, Melba Moore, Lorrie Davis, and Emmaretta Marks (Vocalists). (1968). Hair [Audio Recording]. RCA Victor. Event occurs at Track 25, "White Boys".
59.Jump up ^ Loving v. Virginia, 388 U.S. 1; 87 S. Ct. 1817; 18 L. Ed. 2d 1010; 1967 U.S. LEXIS 1082
60.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Lorrie Davis, Lamont Washington, Ronald Dyson, and Donnie Burks (Vocalists). (1968). Hair [Audio Recording]. RCA Victor. Event occurs at Track 27, "Abie Baby".
61.Jump up ^ The 1960s concept of a menage-a-trois as a tribe is illustrated by the cover of the book The Love Tribe, Mathewson, Joseph (1968). Signet. Retrieved on April 18, 2008.
62.Jump up ^ "Musical Hair opens as censors withdraw". On this Day. bbc.co.uk (November 27, 1968). Retrieved on April 11, 2008.
63.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Steve Curry (Vocalist). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 4, "Sodomy".
64.^ Jump up to: a b Barnes, Clive (April 30, 1968). "Theater: Hair – It's Fresh and Frank; Likable Rock Musical Moves to Broadway", New York Times, p. 40. Retrieved on April 11, 2008.
65.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Events occur at Track 2 "Donna" and Track 26, "Walking in Space".
66.^ Jump up to: a b Miller, p. 116
67.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 28, "Three-Five-Zero-Zero".
68.Jump up ^ Miller, pp. 110–11
69.Jump up ^ McNeill, Don (March 30, 1967). "Be-In, be-in, Being". The Village Voice, The Village Voice, LLC. Retrieved on April 17, 2008.
70.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Sally Eaton, Shelly Plimpton, Melba Moore, and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 11, "Air".
71.^ Jump up to: a b Davis, Lorrie (1968). Album notes for Original Cast Recording of Hair, pp.5–6 [CD booklet]. New York, New York: RCA Victor (1150-2-RC). Hair at MusicBrainz.
72.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Gerome Ragni (Vocalist). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 2, "Goin' Down".
73.^ Jump up to: a b Miller, pp. 88–89
74.Jump up ^ Horn, p. 136
75.^ Jump up to: a b "Rapping With Sally Eaton of Hair". Astrology Today. michaelbutler.com. Retrieved on April 11, 2008.
76.Jump up ^ Curtis, Charlotte (April 30, 1968). "Party Makes It (on the Third Try)". New York Times, p. 50. Retrieved on April 11, 2008.
77.Jump up ^ "Gerome Ragni". ibdb.com. Retrieved on June 1, 2008.
78.^ Jump up to: a b Dowling, Colette (May 1971). "Hair – Trusting the Kids and the Stars". Playbill. Retrieved on June 1, 2008.
79.^ Jump up to: a b c Livingston, Guy (April 15, 1970). "Nudity and Flag "Desecration" Figure In Appeal Against Hair Foldo in Hub". Variety (michaelbutler.com). Retrieved on April 11, 2008.
80.^ Jump up to: a b "Supreme Court Clears Hair for Boston Run". New York Times: p. 26. May 23, 1970. Retrieved on April 11, 2008.
81.Jump up ^ Prideaux, Tom (April 17, 1970). "That Play Is Sprouting Everywhere". Life, michaelbutler.com. Retrieved on June 7, 2008.
82.Jump up ^ Ragni, Gerome and James Rado (Lyricists), Galt MacDermot (Composer), and Sally Eaton, Shelly Plimpton, and James Rado, Lynn Kellogg, Melba Moore, and Original Broadway Cast (Vocalists). (1968) Hair [Audio Recording]. RCA Victor. Event occurs at Track 32, "The Flesh Failures (Let the Sunshine In)".
83.Jump up ^ Miller, p. 91
84.Jump up ^ "Shakespeare in the Park to present Hamlet and the musical Hair. newyorktheatreguide.com (February 7, 2008). Retrieved on April 18, 2008.
85.Jump up ^ Miller, p. 92
86.Jump up ^ Miller, p. 48
87.^ Jump up to: a b c d e f Miller, pp. 56–58
88.^ Jump up to: a b Horn, pp. 61–64
89.^ Jump up to: a b Lees, Gene (July 1969). "hair in Europe". High Fidelity. Retrieved on May 26, 2008.
90.Jump up ^ Horn, p. 74
91.Jump up ^ "Phoenix Fright Wig Up On Hair; Many Mix-Up Calcutta". Variety (August 5, 1970). Retrieved on July 2, 2008.
92.Jump up ^ Brien, Alan. "Alan Brien Takes an Advance Look at a Frontal Attack on Broadway". The London Sunday Times, April 28, 1968. Retrieved on July 2, 2008.
93.Jump up ^ "Optional Nudity in Hair". Esquire (September 1968). Retrieved on July 2, 2008.
94.Jump up ^ Berkvist, Robert (September 14, 1969). "Changes Color of Hair". New York Times, p. D3. Retrieved on July 2, 2008.
95.Jump up ^ Miller, p. 54
96.^ Jump up to: a b Alapatt, Eothen; Galt MacDermot. "Interview with Galt MacDermot by Eothen "Egon" Alapatt". galtmacdermot.com. Retrieved on May 26, 2008.
97.Jump up ^ Miller, p. 44
98.Jump up ^ Kenrick, John. "History of The Musical Stage 1960s: III". musicals101.com. Retrieved on June 9, 2008
99.^ Jump up to: a b Berkvist, Robert (May 11, 1969). "He Put Hair on Broadway's Chest". New York Times, p. D1. Retrieved on May 26, 2008.
100.Jump up ^ Rockwell, John (December 20, 1969). "Long Hair? Can 'the American tribal love-rock musical' be the opera of tomorrow?". Retrieved on May 26, 2008.
101.Jump up ^ "Creedence’s Fogerty: Hair Is Not Where It’s At…". Billboard (November 14, 1970). Retrieved on April 18, 2008.
102.Jump up ^ "Hair (Original Broadway Cast Recording) Track Listing". allmusic.com. Retrieved on April 11, 2008.
103.^ Jump up to: a b c d e Miller, pp. 70–77
104.^ Jump up to: a b Rado, James (July 25, 2007). "New lyrics for 'Hippie Life' song". hairthemusical.com. Retrieved on May 28, 2008. Archived March 9, 2008 at the Wayback Machine
105.Jump up ^ "Production Songs". Internet Broadway Database. Retrieved on July 17, 2009. Archived April 12, 2008 at the Wayback Machine
106.Jump up ^ Holleman, John. "Hair Songs by non-Hair artists". Hair for the Record: A discography compiled by John Holleman. Retrieved on May 30, 2008.
107.Jump up ^ "Hair Tunes Sprayed With Cuts". Billboard (March 22, 1969). michaelbutler.com. Retrieved on May 28, 2008.
108.Jump up ^ "Sesame Street". Sesame Street. PBS. 1969. Retrieved on July 15, 2008.
109.Jump up ^ Goodmorning Starshine. allmusic.com. Retrieved on January 1, 2011.
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115.Jump up ^ "Three Dog Night, Biography". allmusic.com. Retrieved on April 11, 2008.
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117.Jump up ^ "CAPAC Member's Single Was Most Performed in 1970'. Billboard (December 11, 1971). michaelbutler.com. Retrieved on May 29, 2008.
118.Jump up ^ Links to Hair recordings at Castalbums.org
119.Jump up ^ "ABC Gets Rights to Verona Album; New Royalty High". Variety (September 22, 1971). michaelbutler.com. Retrieved on May 28, 2008.
120.Jump up ^ "Headlines: New Cast Recording of Tony-Winning Hair Tops Billboard Charts". broadway.com. Retrieved on July 18, 2009.
121.Jump up ^ O'Connor, John (May 1, 1968). "The Theater: Hair", Wall Street Journal, michaelbutler.com. Retrieved on April 16, 2008).
122.Jump up ^ Watts Jr., Richard (April 30, 1968). "Two On The Aisle – Broadway Theater Review – Music of the American Tribe". New York Post. michaelbutler.com. Retrieved on April 16, 2008.
123.Jump up ^ Jeffries, Allan (Critic). (April 29, 1968). "Review of Hair" (Transcription) [Television production]. New York City: WABC-TV. Retrieved on April 18, 2008.
124.Jump up ^ Probst, Leonard (Critic). (April 29, 1968). "Review of Hair" (Transcription) [Television production]. New York City: WNBC-TV. Retrieved on April 18, 2008.
125.Jump up ^ Wingate, John (Critic). (April 30, 1968). "Review of Hair" (Transcription) [Television program]. New York City: WOR-TV. Retrieved on April 18, 2008.
126.Jump up ^ Harris, Len (Critic). (April 29, 2008). "Review of Hair" (Transcription) [Television program]. New York City: WCBS-TV. Retrieved on April 18, 2008.
127.Jump up ^ Broadway Review. Variety (michaelbutler.com). May 1, 1968. Retrieved on April 18, 2008.
128.Jump up ^ Kroll, Jack (May 13, 1968). "Hairpiece". Newsweek (michaelbutler.com). Retrieved on April 18, 2008.
129.Jump up ^ "Hair". Time. May 10, 1968. Retrieved on April 18, 2008.
130.^ Jump up to: a b c Lewis, Anthony (September 29, 1968). "Londoners Cool to Hair's Nudity; Four-Letter Words Shock Few at Musical's Debut". New York Times: p. 76. Retrieved on April 11, 2008.
131.^ Jump up to: a b c Rizzo, Frank (August 31, 2008). "Hair: Reviving the Revolution". Hartford Courant, courant.com. Retrieved on July 25, 2008.[dead link]
132.Jump up ^ 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.
133.Jump up ^ "Desecration of Flag Ires Hub More Than The Nudity In Hair". Variety (michaelbutler.com). February 25, 1970. Retrieved on April 16, 2008.
134.^ Jump up to: a b "Hair Ruffles Officials In Ind'p'ls; South Bend Nix, Evansville Maybe". Variety (michaelbutler.com). June 26, 1968. Retrieved on June 6, 2008.
135.Jump up ^ "Baptists Hit Use Of County Aud For Hair Two Nighter". Variety (michaelbutler.com). August 5, 1970. Retrieved on June 6, 2008.
136.Jump up ^ "Fire Marshall Nixes It". Variety (michaelbutler.com). December 1, 1971. Retrieved on June 6, 2008.
137.Jump up ^ Warren, William (April 5, 1972). "Attorney for "Hair" Irks Judge With Comments on Scopes Trial". Chattanooga Times (michaelbutler.com). Retrieved on April 11, 2008.
138.Jump up ^ "Supreme Court: Letting The Sun Shine In". Newsweek (michaelbutler.com). March 31, 1975. Retrieved on April 11, 2008.
139.Jump up ^ Southeastern Promotions, LTD v. Conrad, 420 U.S. 546 (U.S. Supreme Court 1975).
140.Jump up ^ "Desecration of Flag Ires Hub More Than The Nudity In Hair". Variety (michaelbutler.com). February 25, 1970. Retrieved on June 6, 2008.
141.Jump up ^ "Gerald Berlin and Defending Hair". michaelbutler.com. Retrieved on June 6, 2008.
142.Jump up ^ "Bomb Thrown at Theater". New York Times: p. 24. April 26, 1971. Retrieved on April 11, 2008.
143.Jump up ^ Johnson, pp. 125–26
144.Jump up ^ "Cleveland Fire Kills 4 in Hair Family". Variety (michaelbutler.com). April 20, 1971. Retrieved on April 11, 2008.
145.Jump up ^ "Bomb Scare at "Hair"". Sydney Daily Telegraph (michaelbutler.com). June 6, 1969. Retrieved on April 11, 2008.
146.Jump up ^ "Princess Anne Dances On Stage During Hair". The New York Times: p. 16. April 16, 1969. Retrieved on July 3, 2008.
147.Jump up ^ Green, Abel (June 18, 1970). "L'Affaire Hair And The Astronauts Who Walked Out; Slur To The Flag". Variety Retrieved on July 3, 2008.
148.Jump up ^ Johnson, p. 43
149.Jump up ^ "Mexico Shuts Hair and Expels Its Cast After One Showing". New York Times: p. 35. January 6, 1969. Retrieved on April 11, 2008.(subscription required)
150.Jump up ^ Curtis, Thomas Quinn. "Translated Hair Cheered in Paris; Title Lends Itself to Jest at Candidate's Expense". New York Times: pp. 53. Retrieved on June 5, 2008.
151.Jump up ^ Hess, John L. (February 2, 1970). "Salvation Army Jousts With Hair in Paris; A Counterattack by Religious Troops Draws Crowds". New York Times: pp. 14. Retrieved on June 5, 2008.
152.Jump up ^ "Hair, the American Tribal Love Rock Musical". ibdb.com. Retrieved on April 15, 2008. Archived May 17, 2007 at the Wayback Machine
153.Jump up ^ Peter Gallagher official website
154.Jump up ^ Eder, Richard (October 6, 1977). "Stage: Revived Hair Shows Its Gray". New York Times: p. 90. Retrieved on April 11, 2008.
155.Jump up ^ "Filming Locations for Hair". imdb.com. Retrieved on April 15, 2008.
156.Jump up ^ "Hair (1979)". imdb.com. Retrieved on April 15, 2008.
157.Jump up ^ Miloš Forman (Director) and Michael Weller (Screenplay). (March 14, 1979). Hair. [Motion picture]. United Artists. Retrieved on May 3, 2008.
158.^ Jump up to: a b c Horn, pp. 117–18
159.Jump up ^ "Hair (1979)", 93% positive reviews at Rottentomatoes.com.
160.Jump up ^ Canby, Vincent. "Hair". The New York Times, March 14, 1979.
161.Jump up ^ Brozan, Nadine (May 28, 1988). "Nostalgia in the Air as Hair Comes to UN to Fight AIDS". New York Times. Retrieved April 16, 2008.
162.^ Jump up to: a b c d Horn, pp. 118–20
163.^ Jump up to: a b Gowan, Anne (March 6, 1994). "Hair Today". The Washington Times (michaelbutler.com). Retrieved April 11, 2008.
164.Jump up ^ Ruhlmann, William. "Hair (1992 Australian Cast)". allmusic.com. Retrieved on August 22, 2009.
165.Jump up ^ "Hair (London Revival, 1993)". broadwayworld.com. Retrieved on August 22, 2009
166.Jump up ^ Shenton, Mark. "Broadway's Hair to Let It All Hang Out at West End's Gielgud Theatre", playbill.com, November 12, 2009
167.Jump up ^ Garfield, Simon (September 4, 2005). "Hair restorer". The Guardian UK (arts.guardian.co.uk). Retrieved August 22, 2009.
168.^ Jump up to: a b c Rado, James (February 14, 2003). "Hair". hairthemusical.com. Archived from the original on May 27, 2008. Retrieved April 11, 2008.
169.Jump up ^ Burghardt, William (August 1996). "Butler brings Hair back for convention". Copley News Service (michaelbutler.com). Retrieved April 12, 2008.
170.Jump up ^ McGrath, Sean. "Last Chance: Third Eye's Hair Closes March 21". Playbill.com, March 19, 1998, accessed May 16, 2011
171.Jump up ^ Oxman, Steven. "Legit Review – Reprise! Hair". Variety (michaelbutler.com). Retrieved April 12, 2008.
172.Jump up ^ Kuchwara, Michael (May 4, 2001). "The return of a remarkable musical time capsule from a turbulent period of protest". Associated Press. Retrieved April 11, 2008.
173.Jump up ^ Gans, Andrew (September 7, 2004). "Hair Grows Longer; More Names Added to All-Star Benefit Concert". Playbill. Retrieved April 11, 2008.
174.Jump up ^ Inverne, James (September 22, 2005). "Updated Hair Opens at London's Gate Theatre Sept. 22". Playbill. Retrieved April 11, 2008.
175.Jump up ^ Wolf, Matt (October 2, 2005). "Hair". Variety. Retrieved April 18, 2008.
176.Jump up ^ Rado, James (March 24, 2006). "Hair in Toronto". Journal: Words from Jim. hairthemusical.com. Archived from the original on March 9, 2008. Retrieved April 11, 2008.
177.Jump up ^ "Hair". Playbill (Johannesburg). 2007.
178.Jump up ^ Steffens, Adolfo Busó. "The Sun Shined In at El Tapia". primerahora.com, March 17, 2010. Retrieved August 30, 2010
179.Jump up ^ "Hair The American Tribal Love-Rock Musical (Musical)". plays411.com. Retrieved April 11, 2008.
180.Jump up ^ Nichols, David C. (October 25, 2007). "Age of Aquarius has electric return". Los Angeles Times. Retrieved April 11, 2008.[dead link]
181.Jump up ^ Morris, Steven Leigh (April 8, 2008). "The 29th Annual L.A. Weekly Theater Awards". LA Weekly. Retrieved April 11, 2008.
182.Jump up ^ Gans, Andrew (September 22, 2007). "The Long and the Short of It: Hair Plays the Delacorte Sept. 22–24". Playbill. Retrieved April 11, 2008.
183.Jump up ^ Cox, Gordon (March 28, 2008). "'Hair' goes Public with a trim". Variety.com. Retrieved July 10, 2008.
184.Jump up ^ Hetrick, Adam (August 18, 2008). "Hair Extended Again, Now Through Sept. 14 in Central Park". playbill.com. Retrieved September 5, 2008.
185.Jump up ^ Hetrick, Adam (June 16, 2008). "Hair Extension: Public Adds Performances to Central Park Run; Casting Complete". Playbill.com. Retrieved July 8, 2008.
186.Jump up ^ Hetrick, Adam (August 4, 2008). "Hanke to Succeed Groff in Central Park Hair", playbill.com. Retrieved on August 4, 2008.
187.Jump up ^ "Let the Sunshine In, and the Shadows" Ben Brantley, nytimes.com, August 8, 2008
188.Jump up ^ Blank, Matthew. "Photo Call: The Cast of Hair Meets the Press", Playbill, February 3, 2009. Retrieved on March 6, 2009
189.Jump up ^ Cast bios, 2009 Hair website, Retrieved on March 5, 2009
190.Jump up ^ "Swenson, Lawrence, Ryness, Levy and Allen Complete Cast of Broadway's Hair", Playbill.com, January 29, 2009, Retrieved on January 29, 2009
191.Jump up ^ Survey of NY theatre reviews of Hair at Critic-o-meter, April 1, 2009
192.Jump up ^ Dziemianowicz, Joe. "Hair Revival's High Fun", Daily News, April 1, 2009, accessed 4/2/09
193.Jump up ^ Vincentelli, Elisabeth. "An Amazing Hair Day", New York Post, April 1, 2009, accessed 4/2/09
194.Jump up ^ Rooney, David. Variety, March 31, 2009, accessed 4/2/09
195.Jump up ^ Kennedy, Louise. "Innocence, spontaneity lost in 'Hair' revival", The Boston Globe, April 1, 2009, accessed 4/2/09
196.Jump up ^ Brantley, Ben. "A Frizzy, Fizzy Welcome to the Untamed ’60s", The New York Times, April 1, 2009
197.Jump up ^ Healy, Patrick. "Producers Relieved Over Future of Hair, The New York Times, April 13, 2009
198.Jump up ^ "Broadway grosses – Week Ending April 12, 2009", Broadway World listing based on data from The Broadway League, April 14, 2009
199.Jump up ^ "Show #3106". Late Show with David Letterman. April 30, 2009.
200.Jump up ^ "2009 Tony Award Winners", The New York Times, May 4, 2009, updated June 7, 2009
201.Jump up ^ "Billy Elliot Wins 10 Drama Desk Awards; Ruined Named Best Play", broadway.com, May 18, 2009
202.Jump up ^ Gans, Andrew. "Billy, Carnage, Hair, Blithe and Rush Win Drama League Awards", playbill.com, May 15, 2009
203.^ Jump up to: a b "Review Roundup: HAIR National Tour". BroadwayWorld.com, March 10, 2011
204.Jump up ^ "HAIR Recoups Investment On Broadway", Playbill.com, August 7, 2009
205.Jump up ^ Hetrick, Adam. "Broadway's Hair Welcomes DeGarmo, Young, Riabko and Bayardelle March 9". Playbill.com, March 9, 2010. Retrieved April 7, 2010
206.Jump up ^ Fullerton, Krissie. "Photo Call: Hair Closes on Broadway". Playbill.com, June 28, 2010
207.Jump up ^ "Broadway Revival of Hair to Close on June 27". Broadway.com, June 9, 2010
208.Jump up ^ "Sheik, Burkhardt et al. Set for Hair Tour; Full Cast Announced!", Broadwayworld.com, September 30, 2010, accessed October 6, 2010
209.Jump up ^ "Hair Is Coming Back to Broadway. Broadwayworld.com, April 13, 2011
210.Jump up ^ Hetrick, Adam. "'Where Do I Go?': Hair First National Tour Will Conclude Jan. 29", Playbill, January 12, 2012
211.Jump up ^ Hetrick, Adam. "Across the Atlantic Sea". Playbill.com, April 1, 2010, Retrieved April 7, 2010
212.Jump up ^ Itzkoff, Dave."Hair Extends From Broadway to London". The New York Times, November 17, 2009
213.Jump up ^ Shenton, Mark. "West End Edition of Broadway's Hair to Shutter Sept. 4". Playbill.com, May 28, 2010
214.Jump up ^ Billington, Michael. Hair (review). The Guardian, April 14, 2010, retrieved April 14, 2010
215.Jump up ^ Spencer, Charles. Hair at the Gielgud Theatre. Daily Telegraph, April 14, 2010, retrieved April 14, 2010
216.Jump up ^ Coveney, Michael. Hair, Gielgud Theatre, London. The Independent, April 14, 2010, retrieved April 14, 2010
217.Jump up ^ Nightingale, Benedict. "Hair at the Gielgud". Times Online, April 14, 2010, retrieved April 14, 2010
218.Jump up ^ Letts, Quentin. "Hair: Flower power, free love ... and an empty heart". Mail Online, April 14, 2010
219.Jump up ^ Hair 40th Anniversary Be-In program, New York, May 3, 2008
220.Jump up ^ "Stas Namin". stasnamin.com. Retrieved May 4, 2008.
221.Jump up ^ Dixit, Pranav. "The Age of Aquarius". Hindustan Times, February 19, 2011, retrieved May 12, 2011
222.Jump up ^ "Galt MacDermot, Works". galtmacdermot.com. Retrieved April 15, 2008.
223.Jump up ^ "Down with the King, Charts and Awards, Billboard Singles". allmusic.com. Retrieved April 15, 2008.
224.Jump up ^ "The 5th Dimension, Charts & Awards". allmusic.com. Retrieved April 11, 2008.
225.Jump up ^ Johnny Depp (Willy Wonka), Tim Burton (Director) (July 10, 2005). Charlie and the Chocolate Factory (Motion picture). Warner Bros. Retrieved April 11, 2008. "Willy Wonka: Good morning, starshine... the earth says hello!"
226.Jump up ^ "Here Today, Hair Tomorrow Episode Recap", Season 8, Episode 22, TV.com, accessed October 1, 2010
227.Jump up ^ Judd Apatow (Director and writer), Steve Carell (Writer) (August 11, 2005). The 40 Year Old Virgin (Motion picture). Universal Pictures. Retrieved April 11, 2008.
228.Jump up ^ David Fincher (Director) (March 2, 2007). Zodiac (Motion picture). Paramount Pictures. Retrieved April 11, 2008.
229.Jump up ^ Reid Harrison (Writer), Steven Dean Moore (Director) (1997-01-12). "The Springfield Files". The Simpsons. Season 8. Episode 163. FOX.
230.Jump up ^ Flandez, Raymund. "Glee Season 1, Episode 11 "Hairography": TV Recap" The Wall Street Journal, November 26, 2009, accessed December 5, 2012
231.Jump up ^ Michael Elias (writer), Rich Eustis (writer), Art Dielhenn (Director) (1990-02-07–1990-02-14). "From Hair to Eternity". Head of the Class. Season 4. Episode 17, 18. ABC.
232.Jump up ^ "Number One Essential Musicals". bbc.co.uk. November 23, 2006. Retrieved April 11, 2008.
233.Jump up ^ "Current Productions of HAIR". michaelbutler.com. Retrieved April 11, 2008.
234.Jump up ^ Peter Jennings (September 4, 2002). "The Stage". In Search of America. ABC.
235.Jump up ^ Butler, Michael (September 6, 2006). "HAIR in RED Bank, NJ". MB Hair Blog. michaelbutler.com. Retrieved April 13, 2008.
236.Jump up ^ Harlib, Leslie. "Mountain Play's Hair will be a flower power flashback". San Jose Mercury News, May 16, 2007, retrieved May 30, 2010
237.^ Jump up to: a b c Horn, pp. 127–29
238.^ Jump up to: a b c d Horn, pp. 131–32
239.Jump up ^ Wollman, pp. 121–123
240.Jump up ^ 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". ABClocal-KABC, June 14, 2011
241.^ Jump up to: a b Teltsch, Kathleen. "Youth Assembly Finds An Angel on Broadway". The New York Times, May 19, 1970, accessed April 19, 2011
242.^ Jump up to: a b "World Youth Assembly Fund". Press release, June 1970, accessed April 19, 2011
243.Jump up ^ "Racusin Keys Trade Youth Drive of UN". Billboard, June 6, 1970, accessed April 19, 2011
244.Jump up ^ Johnson, pp. 84–85
245.Jump up ^ Horn, pp. 137–38
BibliographyDavis, Lorrie and Rachel Gallagher. Letting Down My Hair: Two Years with the Love Rock Tribe (1973) A. Fields Books ISBN 0-525-63005-8
Horn, Barbara Lee. The Age of Hair: Evolution and the Impact of Broadway's First Rock Musical (New York, 1991) ISBN 0-313-27564-5
Johnson, Jonathon. Good Hair Days: A Personal Journey with the American Tribal Love-Rock Musical Hair (iUniverse, 2004) ISBN 0-595-31297-7
Miller, Scott. Let the Sun Shine In: The Genius of Hair (Heinemann, 2003) ISBN 0-325-00556-7
Wollman, Elizabeth Lara, The Theatre Will Rock: A History of the Rock Musical from Hair to Hedwig (University of Michigan Press, 2006) ISBN 0-472-11576-6
External links[edit]
Official website
Hair at the Internet Broadway Database
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
Official Galt MacDermot website, Hair composer
Reocities' "Hair pages", curator Tracy Harris
[show]
Articles and topics related to Hair (musical)
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Categories: 1967 musicals
Broadway musicals
Hippie movement
Nudity
Anti-war plays
Off-Broadway musicals
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Rock musicals
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Plays set in New York City
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Sexual revolution
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