Articles about Hair
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The production of "The American Tribal Love-Rock Musical," which opened Tuesday night at the Al Hirschfeld Theatre, still generates power despite its scattered book, first seen off-Broadway …
It's probably been a few years—OK, decades—since you've participated in a Be-In in Central Park, but you're in luck: Hair is back. The rousing revival that opened last night at the Delacorte—40 years after it first played the Public Theater—feels as fresh now as it did then, thanks to the sheer energy of its sexy young ensemble.
What Broadway desperately needs is a new Hair, not a new production of the old one: something that will identify today's youth, with its fears and its loves and its music, to the mainstream and encourage a more complex understanding of where they're taking the world. That would be a far richer tribute to this work's lasting legacy than this accomplished, enticing, and thoroughly meaningless revival.
Here's a look at the Daily News reviews of the original 1968 Broadway production of "Hair," the 1977 revival, and the 1979 movie.
Goose bumps on a hot summer night—pretty incongruous. But there they were, brought on by exuberant music and a girl in a kimono, fabric flapping in the breeze, and singing about peace, love and Jupiter aligning with Mars. It's important to make a good first impression, and the Public Theater's open-air Hair makes a very good one. Led by Patina Renea Miller, the cast sends the opening anthem, "Aquarius," soaring out of Central Park straight up to the moon (which may or may not be in the seventh house).
The bad puns almost write themselves. It's too long. It's dull. It's flat. It has lost its shine.
Oh, I give up. I just watched "Hair" and I can't do a thing with it.
I had a wonderful time—not just a nostalgic one—at the '60s "American Tribal Love-Rock Musical," which nestles onto a summer-evening stage of patchy grass with lovable, furious a…
Experiencing Hair again may evoke strangely rueful feelings among middle-aged viewers, even though director Diane Paulus' exuberant revival certainly provides a groovy time trip back to those hazy, crazy, late-'60s summers of love.
It was not open to review because it was in pre-tour mode last weekend at New Haven's> Shubert Theatre before the national tour of "Hair" opens officially this week at the Kennedy Center in …
How do you turn a twangy Texas blonde into a stylish, Midwestern media superstar?
It's all about the hair.
While it was off-limits for review, the Public Theater's 40th anniversary concert staging of Hair last summer was one of the more exhilarating New York theatrical events of the year. Directed by Diane Paulus with fluid physicality and performed with passionate conviction by its young cast, the presentation demonstrated that this landmark Vietnam-era rock musical—so often neutered by revival companies that substitute embarrassed flower-power affectation for the social commitment, political disillusionment, pacifism and bittersweet optimism that are its foundations—could still foster an urgent connection today. Those virtues are further strengthened in the full-scale season now back in Central Park.
Quick, get the Rogaine. The new production of "Hair" now on view in Toronto supposedly boasts a series of enriching rewrites by author James Rado. But rather than help the material, they mak…
You may have guessed that Oskar Eustis, the Public's artistic director, picked Hair largely because it can now be construed as an anti-Iraq War show. True enough, but artistically speaking, this unstructured, baggy monster of a musical, though pleasant on first exposure, does not bear too much reviving and closer scrutiny.
