With a score including such enduring musical numbers as "Let the Sunshine In," "Aquarius," "Hair" and "Good Morning Starshine," Hair depicts the the birth of a cultural movement in the 60's and 70's that changed America forever: the musical follows a group of hopeful, free-spirited young people who advocate a lifestyle of pacifism and free-love in a society riddled with intolerance and brutality during the Vietnam War. As they explore sexual identity, challenge racism, experiment with drugs and burn draft cards, the "tribe" in Hair creates an irresistable message of 'hope' that continues to resonate with audiences 40 years later.
This acclaimed production played Central Park last summer.
Hair is duly beloved for its scrumptious rock-candy score and for vividly capturing an indelible and pivotal moment in our history and culture. But like its very young, Vietnam-era characters, the story has more energy than focus. In the wrong hands, it can easily become a quaint, cloying mess. The new Public Theater revival, which opened Tuesday at the Al Hirschfeld Theatre, not only avoids potential obstacles but finds a resonance in Hair beyond any parallels between the turbulent '60s and our own troubled times. What director Diane Paulus and her flawless cast have achieved is a testament to the indomitability and transience of youth, with all the blissful exuberance and aching poignance that entails.
If you want to know why this joyous revival, which opened Tuesday at the Al Hirschfeld Theatre, is so successful, you need not look any farther than the show's first-act finale. No, not its brief display of nudity, but what is happening around it. In this moment of Dionysian frenzy, creators Gerome Ragni, James Rado and Galt MacDermot have neatly encapsulated the musical's themes. As the hippie tribe chants of beads, flowers, freedom and happiness, Claude, one of show's leads, poignantly sings, 'Why do I live, why do I die, tell me where do I go, tell me why.' Director Diane Paulus has done an extraordinary job in illuminating these two conflicting ideas — the clash of spontaneity and the search for identity — ideas that pulse through much of the evening. Paulus, along with choreographer Karole Armitage, are superb guiding spirits, galvanizing an energetic, appealing cast that has gotten better and better since the Public Theater's outdoor production last year.
1967 | Off-Broadway |
Original Off-Broadway Production Off-Broadway |
1968 | Broadway |
Broadway Transfer Broadway |
1968 | West End |
London Production West End |
1969 | Australia |
Australian Production Australia |
1977 | Broadway |
Broadway Revival Broadway |
1993 | West End |
London Revival West End |
2001 | Off-Broadway |
Encores! Concert Off-Broadway |
2004 | Broadway |
Actors' Fund Concert Broadway |
2005 | London Fringe |
London Revival London Fringe |
2008 | Off-Broadway |
Shakespeare In The Park Revival Off-Broadway |
2009 | Broadway |
Broadway Revival Broadway |
2010 | West End |
London Revival West End |
2010 | US Tour |
National Tour US Tour |
2011 | Broadway |
National Tour [Broadway Return Engagement] Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2009 | BroadwayWorld Awards | Best Revival of a Musical | Hair |
2009 | Drama Desk Awards | Outstanding Actor in a Musical | Will Swenson |
2009 | Drama Desk Awards | Outstanding Choreography | Karole Armitage |
2009 | Drama Desk Awards | Outstanding Costume Design | Michael McDonald |
2009 | Drama Desk Awards | Outstanding Director of a Musical | Diane Paulus |
2009 | Drama Desk Awards | Outstanding Featured Actor in a Musical | Bryce Ryness |
2009 | Drama Desk Awards | Outstanding Set Design of a Musical | Scott Pask |
2009 | Outer Critics Circle Awards | Outstanding Choreography | Karole Armitage |
2009 | Outer Critics Circle Awards | Outstanding Director of a Musical | Diane Paulus |
2009 | Outer Critics Circle Awards | Outstanding Lighting Design | Kevin Adams |
2009 | Outer Critics Circle Awards | Outstanding Revival of a Musical | 0 |
2009 | The Hewes Awards | Lighting Design | Kevin Adams |
2009 | Tony Awards | Best Choreography | Karole Armitage |
2009 | Tony Awards | Best Costume Design of a Musical | Michael McDonald |
2009 | Tony Awards | Best Direction of a Musical | Diane Paulus |
2009 | Tony Awards | Best Lighting Design of a Musical | Kevin Adams |
2009 | Tony Awards | Best Performance by an Actor in a Featured Role in a Musical | Will Swenson |
2009 | Tony Awards | Best Performance by an Actor in a Leading Role in a Musical | Gavin Creel |
2009 | Tony Awards | Best Revival of a Musical | Jam Theatricals |
2009 | Tony Awards | Best Revival of a Musical | The Public Theater |
2009 | Tony Awards | Best Revival of a Musical | Elizabeth Ireland McCann |
2009 | Tony Awards | Best Revival of a Musical | Joey Parnes |
2009 | Tony Awards | Best Revival of a Musical | Jujamcyn Theaters |
2009 | Tony Awards | Best Revival of a Musical | The Weinstein Company/Norton Herrick |
2009 | Tony Awards | Best Revival of a Musical | Andrew D. Hamingson |
2009 | Tony Awards | Best Revival of a Musical | Andy Sandberg |
2009 | Tony Awards | Best Revival of a Musical | JK Productions/Terry Schnuck |
2009 | Tony Awards | Best Revival of a Musical | Barbara Manocherian/Wencarlar Productions |
2009 | Tony Awards | Best Revival of a Musical | Broadway Across America |
2009 | Tony Awards | Best Revival of a Musical | Marc Frankel |
2009 | Tony Awards | Best Revival of a Musical | Fran Kirmser Productions/Jed Bernstein |
2009 | Tony Awards | Best Revival of a Musical | Nederlander Productions, Inc. |
2009 | Tony Awards | Best Revival of a Musical | Kathleen K. Johnson |
2009 | Tony Awards | Best Revival of a Musical | Gary Goddard Entertainment |
2009 | Tony Awards | Best Revival of a Musical | Jerry Frankel |
2009 | Tony Awards | Best Revival of a Musical | Jeffrey Richards |
2009 | Tony Awards | Best Sound Design of a Musical | Acme Sound Partners |
2009 | Tony Awards | Revival (Musical) | Oskar Eustis |
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