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Hair: The American Tribal Love-Rock Musical is exactly what its title promises. There’s a tribe, there’s love, there’s rock, it’s a musical, and there’s so much hair. Beyond the basics, though, there’s more to be told from this cultural phenomenon of a show.
Hair, playing at the Al Hirschfeld Theatre in New York City, is set in the late 1960s amidst the Vietnam War draft. The story is told through the eyes of a hippie tribe residing in Central Park, and features Gavin Creel as Claude Bukowski, Will Swenson as George Berger, and Caissie Levy as Sheila Franklin. Director Diane Paulus brings this 1968 hit to life, giving it a contemporary feel relatable to current generations. Touching on a variety of societal issues such as social mores, racism, war and sexuality, it is easy to see how the themes in Hair confront many of the same topics plaguing society today.
Adorned with Persian rugs, a psychedelic truck, and one groovy orchestra, the stage is certainly eye-catching and bursts with color. Between unreserved, modern dance moves and occasional dialogue to the audience, theatrical boundaries seem to disappear. At times, the actors actually venture out into the audience and “spread the love.” Their interactions make the show larger than life while still maintaining the intimacy.
Lighting plays a key role in this production and is used both symbolically and literally. During the song “Walking in Space,” light colors match the lyrics and convey the internal emotions of the characters, while in “New York City Blackout” the lights went black. In turn, a great flashlight effect was used while the hippies were “conjuring” Claude through spiritual practices. The color schemes employed throughout the show create a warmth to the stage, which feels inviting, free and dreamy.
The show relies strongly on musical content, since the music is what brings the whole story together. The plot itself is not exactly coherent, though the songs and stories of each person intertwine and shed light on a time in American history. Each song focuses on varied issues; while “Hair” is a more comical song discussing the beauty of a long and beautiful mane, “Failure of the Flesh” touches on a more serious topic of what war can do to a nation. The music has a way of channeling a whole era through its catchy tunes while still managing to connect to a modern-day audience.
What really ties this show together is the superior talent of the cast. Not only were the vocals phenomenal, but the acting is heartfelt and honest. Swenson illuminates the stage as Berger with his humorous dialogue and free-spirited ways. Creel delivers a heartfelt performance as Claude, whose family values clash with his political and social views. Each actor on stage effectively engages the audience and portrays his or her role honestly and with spunk. There was also a modern feel to the play, which really helps to connect the generations.
The Broadway production is not merely a musical, but rather an experience. Regardless of political and social background, Hair is a show that anyone can enjoy. Exploring the innocence and naiveté of the times, as well as the harsh realities of the world and culture-clash of a generation, the elements of Hair create a timeless work of art that has yet to become irrelevant to post-1960s generations.
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