Jump to content

Hair (musical)

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Mblaxill (talk | contribs) at 17:48, 27 May 2008 (→‎Off-Broadway: nudity ref is Horn pp 87-88). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

This article is about the musical. For the film, see Hair (film).
Hair
The American Tribal Love-Rock Musical
Original Broadway poster
MusicGalt MacDermot
LyricsJames Rado
Gerome Ragni
BookJames Rado
Gerome Ragni
Productions1967 Off-Broadway
1968 Broadway
1968 West End
1968 Munich
1969 Sydney
Multiple Productions Worldwide
1977 Broadway revival
1979 Film version
1993 West End revival
2004 Broadway concert
2005 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 depiction of the use of illegal drugs and profanity, 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 the "rock musical", utilizing a racially-integrated cast and inviting the audience onstage for a "Be-in" finale.[2]

Hair tells the story of the "Tribe",[3] a group of politically active, long-haired "Hippies of the Age of Aquarius" fighting against conscription to the Vietnam War and living a bohemian life together in New York City. They struggle to balance their young lives, loves and the sexual revolution with their pacifist rebellion against the war and the conservative impulses of their parents and society.

After an off-Broadway debut in October 1967 at Joseph Papp's Public Theater and another run in a midtown discothèque space, the show opened on Broadway in April 1968 and ran for 1,750 performances,[4] followed by a successful London production, which ran for 1,997 performances. Numerous productions have been staged around the world since then, and numerous recordings of the musical have been released. Several of the songs from its score became Top 40 hits, and a successful movie version was released in 1979. The continued popularity of Hair is seen in its number ten ranking in a 2006 BBC Radio 2 listener poll of the "Nation's Number One Essential Musicals."[5]

History

Hair was conceived by actors James Rado and Gerry Ragni. The two actors met in 1964, when they were both cast in the off-Broadway play Hang Down Your Head and Die, and began writing Hair together in early 1965.[6][7] In the Los Angeles Times, 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, and we incorporated that in the show too."[2] Many cast members (Shelley Plimpton in particular) were recruited right off the street.[2]

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 group in New York City, a group that was developing experimental theatre techniques.[8] Ragni would later interest Rado in the modern theatre styles and methods being developed there.[9] 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. In addition to the war theme, Viet Rock employed the same improvisational and workshop exercises later used in the development of Hair.[10][7]

Rado and Ragni brought their ideas for the show to producer Eric Blau who, through common friend Nat Shapiro, connected the two with Canadian composer Galt MacDermot.[11] MacDermot had won a Grammy Award in 1961 for his composition "African Waltz" (recorded by Cannonball Adderley).[12] "We work independently," explained MacDermot regarding the creative process. "I prefer it that way. They hand me the material. I set it to music."[13] Among the first songs written for the show were "I Got Life", "Ain't Got No", "Where Do I Go" and the title song "Hair".[2]

The show was pitched to several 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 in New York City's Greenwich Village. 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."[14] Although the production had a "tepid critical reception", it was popular with audiences.[14] Chicago businessman Michael Butler, after seeing an ad for Hair in the New York Times that led him to believe the show was about Native Americans, watched the Public's production several times and decided to purchase the rights and move it to Broadway with a brief stop at the Cheetah, a midtown discoteque.[2]

Before the move to Broadway, the creative team hired director Tom O'Horgan. O'Horgan was the authors' first choice to direct the Public Theater production, but he was in Europe at the time.[15] O'Horgan had built a reputation directing experimental theater at the La MaMa Experimental Theatre Club and had used nudity in many of the plays he directed – something that he would eventually integrate into the Broadway production of Hair.[2] 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."[16]

Hair underwent a massive 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, and 13 new songs were added.[17] In rehearsals, O'Horgan used techniques passed down by Viola Spolin and Paul Sills of improvisational "games" and role playing theories that encouraged freedom and spontaneity. Many of these improvisations were incorporated into the Broadway script. O'Horgan also put the cast through sensitivity exercises based on trust, touching, listening and intensive examination which 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.[18]

Hair became the first off-Broadway musical to successfully make the transition to the Broadway stage.[19] After assuring Butler that commencing previews by April 3rd was sufficient to warrant consideration by the New York Theatre League for the 1968 Tony Awards, the League later ruled Hair ineligible, moving the cutoff date to March 19. The producers brought suit[20] but were unable to force the League to reconsider.[21] At the 1969 Tonys, Hair was nominated for Best Musical and Best Director but lost out to 1776 in both categories.[22]

Early productions

File:CheetahPoster12lowres.jpg
Poster from the Cheetah run with the Native American theme

Off-Broadway

Hair premiered off-Broadway on October 17, 1967. Directed by Gerald Freedman, it was the inaugural production of the Public Theater, which was still under construction, and ran for a limited engagement of six weeks. It then ran for 45 performances at The Cheetah, an old discotheque at 53rd Street and Broadway, produced by Michael Butler.[2] There was no nudity in either the Public Theater or Cheetah production.[23]

Broadway

After expanding the show with the addition of 13 new songs and hiring O'Horgan, Butler and the creative team moved the show to the Biltmore Theatre on Broadway on April 29, 1968. The original New York "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 as Jeanie, Shelley Plimpton as Crissy, Melba Moore as Dionne, Steve Curry as Woof, Ronnie Dyson (who sang "Aquarius"), Paul Jabara and Diane Keaton (who would later play Sheila).[4] Among the performers who appeared in Hair during its original Broadway run were Ben Vereen, Keith Carradine, Barry McGuire, Ted Lange, 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 and Kim Milford.[4]

The production was choreographed by Julie Arenal, with set design by Robin Wagner, costume design by Nancy Potts, and lighting design by Jules Fisher. 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. The spare set was painted in shades of grey with street graffiti stenciled on the stage. The stage was raked, and a tower of abstract scaffolding upstage at the rear merged a Native American totem pole and a modern scupture 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 paper mache bus driver, the head of Jesus, and a neon marquee of the Waverly movie theater in Greenwich Village.[24] 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 Ukranian embroidery, tie dye t-shirts and a red white and blue fringed coat[25]

The production closed four years later on July 1, 1972 after 1,750 performances.[4]

Early regional productions

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.[26] The Los Angeles Tribe included Rado, Ragni, Robert Rothman, Ben Vereen (who replaced Ragni), Red Shepard, Ted Neeley (who replaced Rado), Meat Loaf, Táta Vega, Jobriath, Jennifer Warnes (Warren) and Dobie Gray. Former Mouseketeer Cubby O'Brien served as drummer and musical director.[27]

There were soon nine simultaneous productions in U.S. cities, followed by national tours.[26] Among the performers in these were Joe Mantegna and André DeShields (Chicago), David Lasley, David Patrick Kelly and Shaun Murphy (Detroit), Arnold McCuller (tour), and Philip Michael Thomas (San Francisco).[27] It was rare for this 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 for this was to influence public opinion against the Vietnam War and end it as soon as possible.[28]

File:London1lowres.jpg
London programme

Original West End production

Hair opened at the Shaftesbury Theatre in London on September 27, 1968. The original London Tribe included Sonja Kristina, Paul Nicholas, Richard O'Brien, Melba Moore, Elaine Paige, Paul Korda, Marsha Hunt, Floella Benjamin, Alex Harvey and Tim Curry. This was Curry's first full-time theatrical acting role, where he met future Rocky Horror Show collaborator O'Brien.[29] Hair's engagement in London surpassed the Broadway production, running for 1,997 performances[30] until its closure was forced by the roof collapsing in July 1973.[31]

Early international productions

A German production opened in 1968 in Munich;[32] the Tribe included Donna Summer and Liz Mitchell (of Boney M). A Mexican production of Hair opened in 1969 for one performance. The show was shut down by the government, and the cast members were forced to leave Mexico to avoid arrest.[33]

The Australian production of Hair premiered in Sydney on June 6, 1969,[34] playing for two years, followed by an Australian tour. It was produced by Harry M. Miller and directed by Jim Sharman. The Australian production is notable as the stage debut of popular Australian vocalist Marcia Hines. The Sydney Tribe also included Sharon Redd, Reg Livermore, and John Waters. The Melbourne Tribe included Chuck McKinney[35] and Michael Caton.[36]

Other early productions were staged in Sweden, Brazil, Argentina, Finland, France, Italy, Israel, Japan, Denmark, Norway, Canada, the Netherlands, Switzerland, Austria and then-Yugoslavia (Belgrade). The Belgrade production was the first for Hair in a communist country.[37]

Synopsis

Template:Sample box start variation 2 Template:Sample box end

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". 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, extolls 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, FBI, CIA and LSD ("Initials"). Six members of the Tribe appear dressed as Claude's parents, berating him for his various transgressions – he doesn't 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 ("a pill for 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 colorful 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. Template:Sample box start variation 2 Template:Sample box end 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, excited about the gift, says he's in love with Jagger. Three white women of the Tribe tell why they like "Black Boys" ("black boys are delicious..."), and three black women of the Tribe, dressed like The Supremes, explain why they like "White Boys" ("white boys are so pretty...").

Berger gives 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, Scarlet 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 and runs off screaming. Three Catholic nuns strangle the three 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").

Template:Sample box start variation 2 Template:Sample box end 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, but they don't 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.)

Themes

Social change

Hair challenged many of the norms held by Western society in 1968. It caused controversy when it was first staged, and much publicity was provoked by the Act I finale which included male and female nudity, the first time a Broadway show had seen totally naked actors and actresses.[38] The show was also charged with the desecration of the American flag and the use of obscene language.[39] These issues became the basis for legal actions both when the show opened in other cities and when the show left New York on tour. Two cases eventually went to the U.S. Supreme Court. The first case occurred during the Boston production when the show was shut down by the Massachusetts Supreme Court in April 1970. The U.S. Supreme Court overturned the ruling a month later.[40][41] The other case, which began in April 1972,[42] resulted in a 1975 Supreme Court ruling establishing that the City of Chattanooga's refusal to allow the play to be shown at the city-owned Memorial Auditorium was an unlawful prior restraint.[43][44] Hair also effectively marked the end of stage censorship in the United Kingdom.[45]

These controversies, in addition to the anti-Vietnam War theme, attracted occasional threats and acts of violence during the show's early years. On April 26, 1971, the New York Times reported that a bomb was thrown at the exterior of Cleveland's Hanna Theater, bouncing off the marquee and shattering windows in the Hanna building and nearby storefronts.[46] That same month, the families of cast member Jonathan Johnson and stage manager Rusty Carlson died in a suspicious fire in the Cleveland hotel, where 33 members of the show's troupe had been staying.[47][48] The Sydney, Australia production also had a bomb scare in June 1969.[49]

Many of the songs in Hair address political and social issues: "Air" is a song about pollution; "Sodomy" addresses sexual freedom; "Colored Spade", "Abie Baby" and "Black Boys/White Boys" address various racial issues (the last concerns miscegenation); "Hashish" provides a list of pharmaceuticals, both illegal and legal (including Thorazine, which is used as an antipsychotic);[50] "Three-Five-Zero-Zero" is critical of the Vietnam War; and "Don't Put It Down" pokes fun at patriotism.[51] "Be In (Hare Krishna)" celebrates the peace movement and events like the Central Park Be-In.[52] In addition, as Clive Barnes wrote in his original New York Times review of Hair, "homosexuality is not frowned upon".[53] Three characters in particular – Claude, Berger and Woof – make reference, sometimes vague, to bisexual experiences and bisexuality. Woof says he has a crush on Mick Jagger, and a three-way embrace between Claude, Berger and Sheila turns into a Claude-Berger kiss. Also, Berger, Sheila and Claude live together in an East Village apartment in an arrangement that Jeanie describes as "highly unusual".[54]

Astrology

Astrology is also a major theme in Hair, as songs like "Good Morning, Starshine" and "Let the Sun Shine In" reflected the 1960s cultural interest in astrological and cosmic concepts. "Aquarius" was the result of Rado's research into his own astrological sign.[55] The show's creators also consulted an astrologer when deciding when the show would open on Broadway and in other cities, and whom to cast.[56] Sheila was usually played by a Libra or Capricorn, while Berger was seen as having strong Leonine tendencies.[55]

Literary references

Hair makes many references to Shakespeare's plays, especially Romeo and Juliet and Hamlet, and, at times, takes lyrical material directly from Shakespeare. For example, the lyrics to the song "What a Piece of Work Is Man" is from Hamlet (II: scene 2) and portions of "Flesh Failures" ("the rest is silence") are 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).

Symbolically, the sub-plot of Claude's indecision, leading to his repeated failure to burn his draft card, has been interpreted as the hippie version of Hamlet, whose inability to take decisive action causes his demise. 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."[57]

The song "Three-Five-Zero-Zero" contains portions of Allen Ginsberg's poem "Wichita Vortex Sutra".[58] In the psychedelic drug trip sequence, Scarlett O'Hara, from Margaret Mitchell's Gone with the Wind, and activist African-American poet LeRoi Jones are portrayed.[54]

Music

Assessments and popularity of the music

Theatre historian John Kewnrick wrote,

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."[59]

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.[14]

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

While living in South Africa, MacDermot studied the music of the Bantu tribe, and he incorporated this African influence into the score of Hair.[8] MacDermot says he listened to "what they called quelas... very characteristic beat, very similar to rock. Much deeper though.... Hair is very African – a lot of [the] rhythms, not the tunes so much."[8] Quaylas stress beats on unexpected syllables, and the influence can be heard in songs like "What a Piece of Work Is Man" and "Ain't Got No Grass".[60]

The music in Hair runs the gamut of rock. From the rockabilly sensabilities 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."[61] MacDermot said, "My idea was to make a total funk show. They said they wanted rock & roll - but to me that translated to 'funk.'"[62] That funk is evident throughout the score, notably in songs like "Colored Spade" and "Walking in Space".[62]

The Fifth Dimension, "Aquarius"

The Fifth Dimension released a medley of the two songs "Aquarius/Let the Sunshine In" in 1969, which won a Grammy and topped the charts for six weeks. Some other songs from the show became top 10 hits that year, the year after it opened on Broadway. The Cowsills's recording of the title song "Hair" climbed to #2 on the Billboard charts,[63] "Good Morning Starshine" as sung by Oliver reached #3, [64] and Three Dog Night's version of "Easy to Be Hard" went to #4. [65] Another notable version of a song from Hair at the time was Nina Simone's medley "Ain't Got No - I Got Life" on her 1968 album Nuff Said, which reached the top 5 on the British charts.[66] "Good Morning Starshine" was sung on a Sesame Street episode in 1969 by cast member Bob McGrath.[67] In 1970, ASCAP announced that "Aquarius" was played more frequently on U.S. radio and television than any other song that year.[68]

The music did not resonate with everyone. Leonard Bernstein remarked "the songs are just laundry lists"[69] and walked out of the production.[70] Richard Rogers could only hear the beat and called it "one-third music".[69] John Lennon thought it was dull,[71] and 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."[72] High Fidelity called it "Lawrence Welk for hippies," and summed up the opinion of the music business by writing, "I do not know any musician who thinks it's good."[71]

Songs

The score had many more songs than were typical of Broadway shows of the day.[26] Most Broadway shows had about six to ten songs per act; Hair's total is in the thirties.[73]

*Dropped from the Broadway show.
†Added to 1995 revival

Critical reception

Reception to Hair upon its Broadway premiere was, with exceptions, overwhelmingly positive. Clive Barnes wrote in the New York Times: "What is so likable about Hair, that tribal rock musical that last night completed its trek from downtown, via a discotheque, and landed, positively panting with love and smelling of sweat and flowers, at the Biltmore Theater? I think it is simply that it is so likable. So new, so fresh, and so unassuming, even in its pretensions."[74] 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".[75] 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."[76]

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."[77] 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".[78] John Wingate of WOR TV praised MacDermot's "dynamic score" that "blasts and soars",[79] 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."[80]

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] have talent. Maybe talent is irrelevant in this new kind of show business."[81] 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."[82] But a reviewer from Time wrote, "Compared with this season's crop of moribund Broadway musicals, Hair thrums with vitality. Nonetheless, it is crippled by being a bookless musical and, like a boneless fish, it drifts when it should swim."[83]

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." B. A. Young in The Financial Times agreed that Hair was "not only a wildly enjoyable evening, but a thoroughly moral one." However, W. A. Darlington, the 78-year old critic of The Daily Telegraph, in his final review before retiring after 48 years, wrote that he had "tried hard", but found the evening "a complete bore - noisy, ugly and quite desperately funny."[45]

By 1970, Hair was a huge financial success. Billboard reported that the various productions of the show were raking in almost $1 million a day and that royalties were collected for 300 different recordings of the show's songs. Hair also helped launch recording careers for performers Bert Sommers, Ronnie Dyson and Melba Moore, among others.[84]

Beyond the '60s

1979 movie poster.

Hair was one of the last Broadway musicals to saturate the culture as shows from the golden age once regularly did.

— Charles Isherwood, New York Times[14]

1970s

See also: Hair (film)

A Broadway revival of Hair opened in 1977 for a run of 43 performances. It was produced by Butler, directed by O'Horgan and performed in the Biltmore Theater, where the original Broadway production had played. The cast included Ellen Foley and Annie Golden.[85] Reviews were generally negative, and critics accused the production of "showing its gray".[86] Few major revivals of Hair followed until the early 1990s.

A successful 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,[87] the cast includes Treat Williams, Beverly D'Angelo, John Savage, Foley and Golden.[88] 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.[89]

Original writers James Rado and Gerome Ragni were unhappy with the film.[90] They thought that Forman failed to capture the essence of Hair, that hippies were portrayed as "oddballs" and "some sort of aberration" without any connection to the peace movement.[91] Both are quoted as saying: "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." In their view, the screen version of Hair has not yet been produced.[92]

1980s

On May 26, 1988, a 20th anniversary concert event was held at the United Nations General Assembly to benefit children with AIDS.[93] The event was sponsored by First Lady Nancy Reagan with Barbara Walters giving the night's opening introduction.[94] Rado, Ragni and MacDermot reunited to write nine new songs for the concert. The cast of 163 included former stars of the show from various productions around the globe: Melba Moore, Treat Williams and Donna Summer, as well as guest performers Bea Arthur, Frank Stallone and Dr. Ruth Westheimer (who played the tourist lady). Ticket prices ranged from $250 to $5,000 and went to the United States Committee for UNICEF and the Creo Society's Fund for Children with AIDS.[95]

In November 1988, Michael Butler produced Hair at Chicago's Vic Theatre to celebrate the shows' 20th anniversary. The production was well received and ran until February 1989.[96]

1990s

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.[97] Gerome Ragni died in 1991, but revivals continued. James Rado directed a $1 million, 11 city national tour in 1994 that featured actors Luther Creek, Kent Dalian, Sean Jenness and Catrice Joseph. With Galt MacDermot returning to oversee the music, Rado's tour celebrated the show's 25th anniversary.[98] A small 1990 "bus and truck" production of Hair toured Europe for over 3 years.[98]

A production opened in Australia in 1992 and a short-lived West End revival starring John Barrowman and Paul Hipp opened at the Old Vic in London in 1993.[99] The London production was faithful to the original, with no major plot changes. A member of the production staff said the reason it didn't run longer was because the Tribe consisted of "Thatcher's children who didn't really get it".[100] Other productions were mounted around the world, including South Africa, where the show had been banned until the eradication of Apartheid.[101] In 1996, original Hair producer Michael 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.[102]

2000s

In 2001, the Reprise! theater company in Los Angeles performed Hair at the Wadsworth Theater, starring Steven Weber as Berger, Sam Harris as Claude and Jennifer Leigh Warren as Sheila.[103] 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, Jessica-Snow Wilson and Tom Plotkin, and featuring Hair composer Galt MacDermot on stage playing the keyboards.[104] 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, JM J. Bullock, Liz Callaway, Gavin Creel, Harvey Fierstein, Ana Gasteyer, Annie Golden, Jennifer Hudson, Jai Rodriguez, RuPaul, Michael McKean, Laura Benanti, Adam Pascal and Harris Doran.[105]

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 2003 Gulf War instead of the Vietnam War.[106] Kramer's modernized interpretation included "Aquarius" sung over a megaphone in Times Square, and nudity that called to mind images from Abu Ghraib.[107] In March 2006, Rado collaborated with director Robert Prior for a CanStage production of Hair in Toronto,[108] 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.[109]

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 of Spring Awakening as Claude and Galt MacDermot on stage on the keyboards. The cast also included Karen Olivo, Will Swenson, Darius Nichols, Patina Renea Miller and Megan Lawrence.[110] Actors from the original Broadway production joined the cast on stage during the encore of "Let the Sun Shine In." The Public Theater has announced plans to stage the show in full at the Delacorte from July 22 to August 17, 2008, once again directed by Diane Paulus and starring Jonathan Groff and Will Swenson.[111]

Michael Butler produced Hair at the MET Theater 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). The Tribe featured James Barry, Lee Ferris, Johanna Unger, Dawn Worrall and Trance Thompson.[112][113] On April 8, 2008 Butler's production of Hair won the LA Weekly musical of the year award.[114]

Cultural impact

In the 90's, 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" (#1 Billboard Hot Rap; #21 Billboard Hot 100).[115][116] In 2004, "Aquarius" was honored at number 33 on AFI's 100 Years... 100 Songs.[117]

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".[118] "Aquarius/Let the Sunshine In" was performed in the final scene in the film The 40-Year-Old Virgin,[119] and Three Dog Night's cover of "Easy to be Hard" was featured in the first part of David Fincher's film Zodiac.[120] On the Simpsons episode "The Springfield Files", the townspeople, Leonard Nimoy, Chewbacca, Dana Scully and Fox Mulder all sing "Good Morning Starshine."[121] In addition, Head of the Class featured a 2-part episode in 1990 where the head of the English department is determined to disrupt the school's performance of Hair.[122]

Community theatre, university and high school productions

Amateur and school productions of Hair are popular worldwide.[123] In 2002, Peter Jennings featured a Boulder, Colorado high school production of Hair for his ABC documentary series "In Search of America".[124] 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."[125]

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.[126]

International success

Hair has been performed in most of the countries of the world. After the Berlin Wall fell, the show travelled 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 and discovered a production of Hair there in the midst of the war). 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.[127][128] According to Rado, the only places where the show hasn't been performed are "China, India, Vietnam, the Arctic and Antarctic continents as well as most African countries."[101]

Albums

Notes

  1. ^ "Musical Hair opens as censors withdraw". On this Day. bbc.co.uk. 1968-11-27. Retrieved 2008-04-11.
  2. ^ a b c d e f g "The Peace, Love and Freedom Party". 2001-06-17. Retrieved 2008-04-11.
  3. ^ Mathewson, Joseph (1968). "The Love Tribe". Signet. Retrieved 2008-04-18.
  4. ^ a b c d "Hair". Internet Broadway Database. Retrieved 2008-04-11. {{cite web}}: External link in |work= (help)
  5. ^ "Number One Essential Musicals". bbc.co.uk. 23 November 2006. Retrieved 2008-04-11.
  6. ^ Horn 1991, p. 24
  7. ^ a b "Viet Rock". Lortel Archives: The Internet Off-Broadway Database. Retrieved 2008-04-11.
  8. ^ a b c Miller, Scott (2003). Let the sun shine in: the genius of Hair. Portsmouth, NH: Heinemann. ISBN 0-325-00556-7.pp. 54-56
  9. ^ Horn 1991, p. 23
  10. ^ Horn, Barbara Lee (1991). The age of Hair / evolution and impact of Broadway's first rock musical. New York: Greenwood Press. ISBN 0-313-27564-5.pp. 18-19
  11. ^ Horn 1991, p. 27
  12. ^ "Galt McDermot Biography". musiciansguide.com. Retrieved 2008-04-11.
  13. ^ Whittaker, Herbert (May, 1968). "Hair: The Musical That Spells Good-bye Dolly!". The Canadian Composer. Retrieved 2008-04-18. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  14. ^ a b c d Isherwood, Charles (September 16, 2007). "The Aging of Aquarius". The New York Times. Retrieved 2008-05-25.
  15. ^ Horn p.29
  16. ^ Junker, Howard (1968-06-03). "Director of the Year". Newsweek. orlok.com. Retrieved 2008-04-11.
  17. ^ Horn, 1991 pp.39-40
  18. ^ Horn 1991, p. 53
  19. ^ Popkin, Henry (1979-01-14). "Broadway Discovers Riches Off (Off) the Beaten Track". New York Times. p. D7. Retrieved 2008-04-11.
  20. ^ "Producer Sues N.Y. Theatre League On Hair Exclusion as Tony Entry". Variety. michaelbutler.com. March 10, 1968. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  21. ^ Zolotrow, Sam (March 22, 1968). "'Happy Time' Gets 10 Mentions Among Tony Award Candidates". New York Times. p. 59. Retrieved 2008-04-11. Shows that opened on Broadway between Feb. 18, 1967 and last Monday were considered. An attempt by Michael Butler, a producer of Hair, the rock 'n' roll musical, to obtain a temporary injunction restraining the league from selecting Tony candidates was quashed yesterday by Supreme Court Justice Joseph A. Sarafite. The court's decision pointed out that "the plaintiff has failed to make out a case sufficient to justify the drastic relief he seeks." Mr. Butler had asked the league to include Hair due April 3 at an undesignated Broadway theater as a potential nominee. The original cut off date of April 3 had been moved up to allow more time for the preparation of the April 21 telecast of the awards presentation. As of yesterday Mr. Butler had not decided whether to appeal the decision. {{cite news}}: Check date values in: |date= (help)
  22. ^ "Past Winners, 1969". tonyawards.com. Retrieved 2008-04-11.
  23. ^ Horn pp. 87-88
  24. ^ Horn, pp. 61–62
  25. ^ Horn, p. 63–64
  26. ^ a b c Rado, James (2003-02-14). "HAIRABILIA". hairthemusical.com. Retrieved 2008-04-11.
  27. ^ a b Johnson, Jonathon. Good Hair Days: A Personal Journey With The American Tribal Love-rock Musical Hair. iUniverse. pp. 24–89. ISBN 0-595-31297-7.
  28. ^ Butler, Michael. "How and Why I Got Into Hair". Pages from Michael Butler's Journal. michaelbutler.com. Retrieved 2008-04-11. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  29. ^ "Tim Curry - Actor". Edited Guide Entry. bbc.uk.co. 2007-01-02. Retrieved 2008-04-11. {{cite web}}: Cite has empty unknown parameter: |month= (help)
  30. ^ Horn 1991, p. 105
  31. ^ "Shaftesbury Theatre, London". thisistheatre.com. Retrieved 2008-04-17.
  32. ^ Blumenthal, Ralph (October 26, 1968). "MUNICH AUDIENCE WELCOMES 'HAIR'; Applause and Foot Stamping Follow Musical Numbers". New York Times. p. 27. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help)
  33. ^ "Mexico Shuts 'Hair' And Expels Its Cast After One Showing". New York Times. January 6, 1969. p. 35. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  34. ^ "'Hair' Reaches Australia". New York Times. June 7, 1969. p. 26. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help)
  35. ^ Thompson, Dave (2001). Funk. San Francisco: Backbeat Books. p. 143. ISBN 0-87930-629-7. Retrieved 2008-04-17. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  36. ^ "Michael Caton". rottentomatoes.com. Retrieved 2008-04-17.
  37. ^ "Hair Around The World". Newsweek. michaelbutler.com. July 7, 1969. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help)
  38. ^ Horn pp. 87-88
  39. ^ "Desecration of Flag Ires Hub More Than The Nudity In Hair". Variety. michaelbutler.com. 1970-02-25. Retrieved 2008-04-16.
  40. ^ Livingston, Guy (1970-04-15). "Nudity and Flag "Desecration" Figure In Appeal Against Hair Foldo in Hub". Variety. michaelbutler.com. Retrieved 2008-04-11.
  41. ^ "Supreme Court Clears 'Hair' for Boston Run". New York Times. 1970-05-23. p. 26. Retrieved 2008-04-11.
  42. ^ Southeastern Promotions, LTD v. Conrad, 420 U.S. 546 (U.S. Supreme Court 1975).
  43. ^ Warren, William (1972-04-05). "Attorney for "Hair" Irks Judge With Comments on Scopes Trial". Chattanooga Times. michaelbutler.com. Retrieved 2008-04-11.
  44. ^ "Supreme Court: Letting The Sun Shine In". Newsweek. michaelbutler.com. 1975-03-31. Retrieved 2008-04-11.
  45. ^ a b Lewis, Anthony (November 29, 1968). "Londoners Cool to 'Hair's' Nudity; Four-Letter Words Shock Few at Musical's Debut". New York Times. p. 76. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help)
  46. ^ "Bomb Thrown at Theater". New York Times. 1971-04-26. p. 24. Retrieved 2008-04-11.
  47. ^ Johnson 2004, pp. 125-26
  48. ^ "Cleveland Fire Kills 4 in Hair Family". Variety. michaelbutler.com. 1971-04-20. Retrieved 2008-04-11.
  49. ^ "Bomb Scare at "Hair"". Sydney Daily Telegraph. michaelbutler.com. June 6, 1969. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help)
  50. ^ Miller 2003, p. 116
  51. ^ Miller 2003, pp. 110-11
  52. ^ McNeill, Don (March 30, 1967). "Be-In, be-in, Being". The Village Voice. Village Voice LLC. Retrieved 2008-04-17.
  53. ^ Barnes, Clive (April 30, 1968). "Theater: 'Hair' – It's Fresh and Frank; Likable Rock Musical Moves to Broadway". New York Times. p. 40. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help)
  54. ^ a b Rado, James. Hair (Original Script ed.). Tams Whitmark. {{cite book}}: Cite has empty unknown parameter: |origdate= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  55. ^ a b Eaton, Sally (c. 1970). "Rapping With Sally Eaton of Hair". Astrology Today. michaelbutler.com. Retrieved 2008-04-16.
  56. ^ Curtis, Charlotte (April 30, 1968). "Party Makes It (on the Third Try)". New York Times. p. 50. Retrieved 2008-04-11. {{cite news}}: Check date values in: |date= (help)
  57. ^ "Shakespeare in the Park to present Hamlet and the musical Hair". newyorktheatreguide.com. 2008-02-07. Retrieved 2008-04-18.
  58. ^ Miller 2003, p. 92
  59. ^ Kenrick, John. "History of The Musical Stage 1960s: III" Musicals 101.com, accessed May 3, 2008
  60. ^ Miller p. 54
  61. ^ Miller p. 44
  62. ^ a b Alapatt, Eothen. "Interview with Galt MacDermot by Eothen "Egon" Alapatt". galtmacdermot.com. Retrieved 2008-05-26. {{cite web}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  63. ^ "The Cowsills, Biography". allmusic.com. Retrieved 2008-04-11.
  64. ^ "Oliver, Biography". allmusic.com. Retrieved 2008-04-11.
  65. ^ "Three Dog Night, Biography". allmusic.com. Retrieved 2008-04-11.
  66. ^ "Nina Simone, Biography". allmusic.com. Retrieved 2008-04-11.
  67. ^ "Sesame Street". Sesame Street. 1969. PBS. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  68. ^ "CAPAC Member's Single Was Most Performed in 1970". Billboard. 1971-12-11. Retrieved 2008-05-26.
  69. ^ a b Berkvist, Robert (May 11, 1969). "He Put 'Hair' on Broadway's Chest". The New York Times. p. D1. Retrieved 2008-05-26. {{cite news}}: Check date values in: |date= (help)
  70. ^ Rockwell, John (December 20, 1969). "Long Hair? Can "the American tribal love-rock musical" be the opera of tomorrow?". Opera News. Retrieved 2008-05-26. {{cite news}}: Check date values in: |date= (help)
  71. ^ a b Lees, Gene (July 1969). "Hair in Europe". High Fidelity. Retrieved 2008-05-26.
  72. ^ "Creedence's Fogerty: Hair Is Not Where It's At…". Billboard. November 14, 1970. Retrieved 2008-04-18. {{cite news}}: Check date values in: |date= (help)
  73. ^ "Hair (Original Broadway Cast Recording) Track Listing". allmusic.com. Retrieved 2008-04-11.
  74. ^ Barnes, Clive (April 30, 1968). "Hair - It's Fresh and Frank; Likable Rock Musical Moves To Broadway". New York Times. michaelbutler.com. Retrieved 2008-04-16. {{cite news}}: Check date values in: |date= (help)
  75. ^ O'Connor, John (May 1, 1968). "The Theater: Hair". Wall St Journal. michaelbutler.com. Retrieved 2008-04-16. {{cite news}}: Check date values in: |date= (help)
  76. ^ Watts Jr., Richard (April 30, 1968). "Two On The Aisle - Broadway Theater Review - Music of the American Tribe". New York Post. michaelbutler.com. Retrieved 2008-04-16. {{cite news}}: Check date values in: |date= (help)
  77. ^ Allan Jeffries (Critic). Review of "Hair" (Television production). New York City: WABC-TV. Retrieved 2008-04-18. {{cite AV media}}: Unknown parameter |date2= ignored (help)
  78. ^ Leonard Probst (Critic). Review of "Hair" (Television production). New York City: WNBC-TV. Retrieved 2008-04-18. {{cite AV media}}: Cite has empty unknown parameters: |month2= and |year2= (help); Unknown parameter |date2= ignored (help)
  79. ^ John Wingate (Critic). Review of "Hair" (Television program). New York City: WOR-TV. Retrieved 2008-04-18. {{cite AV media}}: Cite has empty unknown parameters: |month2= and |year2= (help); Unknown parameter |date2= ignored (help)
  80. ^ Len Harris. Review of "Hair" (Television program). New York City: WCBS-TV. Retrieved 2008-04-18. {{cite AV media}}: Unknown parameter |date2= ignored (help)
  81. ^ "Broadway Review". Variety. michaelbutler.com. May 1, 1968. Retrieved 2008-04-18. {{cite news}}: Check date values in: |date= (help)
  82. ^ Kroll, Jack (May 13, 1968). "Hairpiece". Newsweek. michaelbutler.com. Retrieved 2008-04-18. {{cite news}}: Check date values in: |date= (help)
  83. ^ "Hair". Time. May 10, 1968. Retrieved 2008-04-18. {{cite news}}: Check date values in: |date= (help)
  84. ^ Gross, Mike (June 27, 1970). "Hair Is Doing Runaway Business as Score & Play". Billboard. michaelbutler.com. Retrieved 2008-04-18. {{cite news}}: Check date values in: |date= (help)
  85. ^ "Hair, the American Tribal Love Rock Musical". ibdb.com. Retrieved 2008-04-15.
  86. ^ Eder, Richard (1977-10-06). "Stage: Revived 'Hair' Shows Its Gray". New York Times. p. 90. Retrieved 2008-04-11.
  87. ^ "Filming Locations for "Hair"". imdb.com. Retrieved 2008-04-15.
  88. ^ "Hair (1979)". imdb.com. Retrieved 2008-04-15.
  89. ^ Miloš Forman (Director) and Michael Weller (Screenplay). Hair (Motion picture). United Artists. Retrieved 2008-05-03. {{cite AV media}}: Cite has empty unknown parameters: |month2= and |year2= (help); Unknown parameter |date2= ignored (help)
  90. ^ Horn 1991, pp. 117-18
  91. ^ Horn 1991, p. 118
  92. ^ Horn 1991, p. 118
  93. ^ Brozan, Nadine (1988-05-28). "Nostalgia in the Air as 'Hair' Comes to U.N. to Fight AIDS". New York Times. Retrieved 2008-04-16.
  94. ^ Horn 1991, pp. 118-19
  95. ^ Horn 1991, p. 119
  96. ^ Horn 1991, p. 119
  97. ^ Horn 1991, p. 120
  98. ^ a b Gowan, Anne (1994-03-06). "Hair Today". The Washington Times. michaelbutler.com. Retrieved 2008-04-11.
  99. ^ "Paul Hipp Biography". tv.yahoo.com. Retrieved 2008-04-12.
  100. ^ Garfield, Simon (September 4, 2005). "Hair restorer". The Guardian UK. arts.guardian.co.uk. Retrieved 2008-04-16.
  101. ^ a b Rado, James (2003-02-14). "Hair". hairthemusical.com. Retrieved 2008-04-11.
  102. ^ Burghardt, William (August, 1996). "Butler brings "Hair" back for convention". Copley News Service. michaelbutler.com. Retrieved 2008-04-12. {{cite news}}: Check date values in: |date= (help)
  103. ^ Oxman, Steven. "Legit Review - Reprise! Hair". Variety. michaelbutler.com. Retrieved 2008-04-12.
  104. ^ Kuchwara, Michael (2001-05-04). "The return of a remarkable musical time capsule from a turbulent period of protest". Associated Press. Retrieved 2008-04-11.
  105. ^ Gans, Andrew (2004-09-07). "Hair Grows Longer; More Names Added to All-Star Benefit Concert". Playbill. Retrieved 2008-04-11.
  106. ^ Inverne, James (2005-09-22). "Updated Hair Opens at London's Gate Theatre Sept. 22". Playbill. Retrieved 2008-04-11.
  107. ^ Wolf, Matt (2005-10-02). "Hair". Variety. Retrieved 2008-04-18.
  108. ^ Rado, James (2006-03-24). "Hair in Toronto". Journal: Words from Jim. hairthemusical.com. Retrieved 2008-04-11.
  109. ^ "Hair". Playbill. Johannesburg. 2007.
  110. ^ Gans, Andrew (2007-09-22). "The Long and the Short of It: Hair Plays the Delacorte Sept. 22-24". Playbill. Retrieved 2008-04-11.
  111. ^ Van Gelder, Lawrence (2008-02-08). "'Hamlet' and 'Hair' in the Park". New York Times. Retrieved 2008-04-11.
  112. ^ "Hair The American Tribal Love-Rock Musical (Musical)". plays411.com. Retrieved 2008-04-11.
  113. ^ Nichols, David C. (2007-10-25). "Age of Aquarius has electric return". Los Angeles Times. Retrieved 2008-04-11.
  114. ^ Morris, Steven Leigh (2008-04-08). "The 29th Annual L.A. Weekly Theater Awards". LA Weekly. Retrieved 2008-04-11.
  115. ^ "Galt MacDermot, Works". galtmacdermot.com. Retrieved 2008-04-15.
  116. ^ "Down with the King, Charts and Awards, Billboard Singles". allmusic.com. Retrieved 2008-04-15.
  117. ^ "The 5th Dimension, Charts & Awards". allmusic.com. Retrieved 2008-04-11.
  118. ^ Johnny Depp (Willy Wonka), Tim Burton (Director). Charlie and the Chocolate Factory (Motion picture). Warner Bros. Retrieved 2008-04-11. Willy Wonka: Good morning, starshine... the earth says hello! {{cite AV media}}: Unknown parameter |date2= ignored (help)
  119. ^ Judd Apatow (Director and writer), Steve Carell (Writer). The 40 Year Old Virgin (Motion picture). Universal Pictures. Retrieved 2008-04-11. {{cite AV media}}: Unknown parameter |date2= ignored (help)
  120. ^ David Fincher (Director). Zodiac (Motion picture). Paramount Pictures. Retrieved 2008-04-11. {{cite AV media}}: Unknown parameter |date2= ignored (help)
  121. ^ Reid Harrison (Writer), Steven Dean Moore (Director) (1997-01-12). "The Springfield Files". The Simpsons. Season 8. Episode 163. FOX. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help); Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  122. ^ Michael Elias (writer), Rich Eustis (writer), Art Dielhenn (Director). "From Hair to Eternity". Head of the Class. Season 4. Episode 17, 18. ABC. {{cite episode}}: Cite has empty unknown parameters: |episodelink=, |city=, and |transcripturl= (help); Unknown parameter |began= ignored (|date= suggested) (help); Unknown parameter |ended= ignored (|date= suggested) (help); Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  123. ^ "Current Productions of HAIR". michaelbutler.com. Retrieved 2008-04-11.
  124. ^ Peter Jennings (2002-09-04). "The Stage". In Search of America. ABC. {{cite episode}}: Unknown parameter |city= ignored (|location= suggested) (help)
  125. ^ Butler, Michael (2006-09-06). "HAIR in RED Bank, NJ". MB Hair Blog. michaelbutler.com. Retrieved 2008-04-13.
  126. ^ Ephriam, Label (2007-05-23). "'Hair' still lets the sunshine in". examiner.com. Retrieved 2008-04-11.
  127. ^ Hair 40th Anniversity Be-In program
  128. ^ "Stas Namin". stasnamin.com. Retrieved 2008-05-04.

References

  • Barnes, Clive. "Theatre: 'Hair'—It's Fresh and Frank" in The New York Times, April 30 1968. (available online here).
  • Horn, Barbara Lee. The Age of Hair: Evolution and the Impact of Broadway's First Rock Musical (New York, 1991) ISBN 0313275645
  • Miller, Scott. Let the Sun Shine In: The Genius of Hair (Heinemann, 2003) ISBN 0325005567
  • Johnson, Jonathon. Good Hair Days: A Personal Journey with the American Tribal Love-Rock Musical Hair (iUniverse, 2004) ISBN 0595312977


Retrieved from "https://en.wikipedia.org/w/index.php?title=Hair_(musical)&oldid=215317075"