Hair is a psychedelic journey into the world of the Beat Generation, hippy culture and the anti-war movement of the late 1960s in America. The Australian Shakespeare Company brings the show back to Melbourne for an extended season this November.
The musical broke boundaries when it was first hit Broadway in 1968 and continues to spread a powerful message of peace; more relevant in today’s world than ever. Hair’s candid approach to sex, drugs, and the body may feel a little more cartoonish today, but its core beliefs in freedom and equality still ring true.
Entering the theatre felt like walking into a flower power haze, with the opening night audience committing to the dress code in flared denim, peace sign necklaces and daisy chains. The audience was buzzing, creating an exciting atmosphere of fans ready to see this rendition of an old favourite. It was my first time seeing the show; other than a few songs, I really didn’t know what to expect.
Each member of the cast does a fabulous job bringing their characters’ individual personalities to life amongst the homogeneous tribe. There’s great light and shade in each hippy voice, and the majority of the first act lets us into each one.
I really loved Rosie Meader as Jeanie. She carries herself with such charm and sweetness; it made me want so much love for her character. Another standout is Elizabeth Brennan, who, in spite of a few technical issues, sings with heart and warmth that lights up the stage and commands attention.
As Leonard, Maverick Newman has impeccable comedic timing, returning to the stage each time in a new wig and carrying a new bit. His stage presence puts you immediately at ease.
The same is true of Clay Darius, whose voice is so smooth and soulful. He portrays Hud playfully, yet still sticks the landing to deliver the dramatic beats on racial segregation.
Hair really ramps up in the second act, once the main ethos and character introductions are complete. The show delves into Alex Cooper’s character, Claude, and the conflict between his beliefs and his military conscription.
Claude’s grief and fear are unpacked through a drug trip sequence, which perfectly balances comedy and social commentary. The show does a great job capturing the feeling of isolation that fear creates in these moments. Cooper expertly transforms from the dreamer in the first act to someone really struggling with the next step in his life.
Karla Erenbots’ costumes are beautiful. They are a perfect homage to my personal favourite era of fashion. The beads and rose-tinted glasses worn by the audience are taken to another level in the costumes on stage.
The set is simply lit in vibrant hues, allowing room for the cast to captivate. This was paired brilliantly with interesting movement and smooth choreography by Sue-Ellen Shook.
The highlight of the show is the music. Filled with heart and soul, each song stands uniquely on its own yet fits perfectly together, much like the tribe’s cast of characters. Like most people, I knew Age of Aquarius and Let The Sunshine In, but never knew their roles in the story.
I was blown away by the use of Let The Sunshine In, the show’s finale. For such a lighthearted-sounding song without context, it carries so much weight in the musical’s final moments. It is both tragic and hopeful, encapsulating the ethos of the hippy ideology: we must keep moving forward and fighting for light and love.
Hair is a musical that wears peace and hope on its sleeve. It doesn’t shy away from the brutalities of the world, instead distilling big topics like war into something deeply personal. Hair is a work of empathy and hope, and reminds us that it really can be that simple: all you need is love.
Hair: The Tribal Love-Rock Musical is presented by the Australian Shakespeare Company. It runs to 22 November at the Athenaeum Theatre, 188 Collins Street Melbourne Vic 3000.
Tickets: https://www.hairthemusical.com.au/#booknow
Website: https://www.hairthemusical.com.au/
Socials: https://www.instagram.com/hairmusicalau/
Photo credits: Ben Fon
