Review: Hair The Musical Bring Peace & Love To Sydney

★★★★☆

HAIR is no stranger to controversy. From its 1968 Broadway debut to its Australian premiere in 1969, the revolutionary rock musical attracted both conservative criticism and devoted admiration. 

Recognised for pushing the boundaries of traditional theatre, HAIR is a vibrant celebration of freedom, peace, and human connection, set against the rise of the anti-war movement during the Vietnam War and the dawning of the Age of Aquarius. 

Famed for its frank depictions of nudity, drug culture, and political unrest, the musical transforms the stage into a colourful hippie dreamscape overflowing with heart, hope, and rebellion.

For a limited season, the Australian Shakespeare Company is bringing this psychedelic world of radical self-expression to the Theatre Royal Sydney. More than fifty years after its debut, HAIR remains remarkably relevant, with its themes of collective resistance, personal freedom, and social change continuing to resonate today.

Act I unfolds through a series of fragmented, dream-like musical sequences. These numbers introduce the members of the tribe and establish the show’s free-spirited atmosphere. The structure feels intentional, reflecting the psychedelic haze associated with drug use. However, it can make it difficult to connect with the musical’s deeper themes, a connection that is developed more effectively in Act II.

Among the first characters introduced is the wild and rebellious Berger, played by Maxwell Simon. Simon commands the stage from the outset, captivating the audience with their magnetic charisma and restless energy while showcasing powerful vocals in a standout rendition of Donna.

Contrasting Berger’s impulsive energy, Alex Cooper as Claude is thoughtful, hopeful, and idealistic, taking the stage with such sincerity and heart. Cooper skilfully captures the tension between Claude’s restless desire for freedom and the mounting pressure of societal expectations.

A particular highlight is Claude’s heartbreaking breakdown at the end of the hallucination sequence in Act II. Cooper’s acting is a powerful display of vulnerability that deepens the audience’s emotional connection to Claude,  heightening the impact of the production’s tragic conclusion.

Elizabeth Brennan brings warmth and sincerity to Sheila, grounding the character with a quiet emotional strength. In contrast, Rosie Meader’s Jeanie is eccentric, lovable, and effortlessly funny. 

As Woof, Jackson McGovern is equal parts hilarious and endearing, embodying the quintessential hippie archetype with effortless charm and impeccable comedic timing.

Credit must also be given to the ensemble, whose unwavering energy and commitment elevates every musical number. This is emphasised through Sue-Ellen Shook’s choreography, which strikes a balance between free-spirited looseness and technical precision, and Osibi Akerejola’s vocal arrangements, which ensure consistently rich and impressive harmonies throughout.

A personal standout is Apache, played by Linden Trescott, who steals the stage with his infectious energy and remarkable acrobatic skills. 

Likewise, Maverick Newman was an audience favourite, winning over the opening night crowd with his exceptional comedic timing and an impressive range of character voices. Tane Williams-Accra plays Hud with charm and ease, delivering hilarious one-liners and beautiful vocals in Coloured Spade.

Together, the cast creates a tribe of distinct and authentic characters, each navigating their own struggles, ideals, and yearning for freedom.

Glenn Elston’s direction successfully preserves the spirit of flower-power resistance while refusing to soften the musical’s more confronting themes of racism, political violence, and government control.

This production does not shy away from the outdated stereotypes and confronting language that formed part of the original work. Instead, it embraces the complexity of its legacy, encouraging audiences to reflect on both the progress and stagnation of society. 

In doing so, it unites audiences through a shared reflection on struggle, resistance, and hope, making the experience feel deeply personal and moving.

Adding to this world, Harrison Cope’s lighting design is particularly effective. The vibrant, colourful haze of the Act II LSD hallucination sequence creates a visually stunning dreamscape, while the soft sunlight filtering through the finale provides a striking sense of stillness and reflection. 

The costume design by Karla Erenbots similarly captures the spirit of the era, with each character maintaining a distinct identity while contributing to a cohesive aesthetic that feels nostalgic, authentic, and deliberately opposed to mainstream fashion.

As expected, the Act II finale, The Flesh Failures (Let the Sunshine In), proved to be the highlight of the evening. It served as a bittersweet celebration of life amidst the heaviness of war and grief, reminding the audience in times of darkness to let the glimpses of sunlight in. To feel every fleeting moment of happiness that we get. 

HAIR continues to remind us of the power of theatre as a mechanism for self-expression and to drive change. It challenges audiences and initiates conversations while uniting us through a shared sense of hope and human connection. 

This musical was a glimmer of sunshine for me, and I recommend everyone soak it in while they can. 

HAIR:The Tribal Love-Rock Musical is presented by the Australian Shakespeare Company. It runs to 12 July at the Theatre Royal Sydney. 108 King St, Sydney NSW 2000.

Tickets are on sale here.

Website: https://www.hairthemusical.com.au/

Socials: https://www.instagram.com/hairmusicalau/

Photo credits: Daniel Boud