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.
Hair, hair, hair, hair, hair, hair, hair! There’s no shortage of the stuff in the joyous revival of the American Tribal Love-Rock Musical, currently sending enthusiastic crowds to the moon (in the Seventh House) at the Al Hirschfeld Theatre. For the most part, Hair has made the transfer from Central Park with its high spirits intact. But during the famous mass-nudity moment, my companion noticed a lack of hair that helped crystallize what feels just a little off-kilter about this production: “I didn’t think,” she whispered, “that hippies had Brazilians.”
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