For a particular generation, Hair was a milestone achievement and an audacious theatrical exploration of the countercultural rebellion, sexual liberation and political criticisms epitomised by the hippie movement. In essence, Hair distilled the hopes, anxieties, and rebellious energy of the Baby Boomers into a single theatrical experience. It wasn’t just about the ’60s – it was the ’60s, live on stage.
The original Australian production opened in 1969, just two years after the musical’s Broadway debut, and toured the country for several years. Since then, Hair has returned intermittingly to our stages, predominantly for limited runs or in concert versions. So, for fans of the show the prospect of a new mainstage run is welcome news. Unfortunately, this rather underwhelming production isn’t likely to convert any new tribe members.
Hair has a very loose narrative structure in which short vignettes and songs lay out the ideology and experiences of a group of New York hippies. There is a central throuple involving Claude (Alex Cooper), a draft dodging expat, his free-loving friend Berger (Maxwell Simon) and political activist Sheila (Elizabeth Brennan), but apart from some very brief moments of conflict within their relationship and Claude’s general reluctance to join the army, nothing significant really happens in Hair. Therefore, it takes a director with a strong vision to bring everything together in a compelling way and remind contemporary audiences why this musical was so groundbreaking.
Hair: broad characterisations and overexaggerated jokes
This production marks the Australian Shakespeare Company’s first foray into large-scale musical theatre, and the company is still finding its footing in the genre. Director Glenn Elston pushes the comedic elements of Hair to the front and dials them up to 11. The characterisations are broad and the jokes so overexaggerated that the whole thing starts to resemble a Saturday Night Live parody of Hair rather than a nuanced interpretation of the material.
Often, throughout the show it feels like the audience is being directed to laugh at these ‘kooky’ characters, rather than empathise with them. When the production finally leans into the darker themes and is allowed to pause and breath later in act two, particularly during the beautifully performed ‘What a Piece of Work is Man’ and ‘The Flesh Failures (Let the Sunshine In),’ there are glimmers of what a more emotionally engaging and balanced production might have looked like.
Similarly, at times the choreography is confusingly disconnected from the material. A few numbers evoke the polished brightness of a Disney made-for-TV musical – a playful contrast that doesn’t always serve the story’s underlying mood. However, there are some compelling moments of staging and movement during Claude’s extended drug-trip sequence later in the show. The stage features a rock concert–style lighting rig surrounding a central circular platform. Two mobile metal staircases add scale and movement, while a circular screen projects images ranging from Vietnam War footage to psychedelic patterns – visuals that feel underused and add little to the production’s atmosphere. The costumes, all sourced second-hand, are vibrant and era appropriate.
Hair: ensemble works hard
The cast is a mixture of Australian Shakespeare Company alumni, commercial musical theatre performers and new talent. Alex Cooper is a strong Claude, acting thoughtfully and singing with confidence. Maxwell Simon gets to show off his signature rock belt during Berger’s featured songs, and whilst Elizabeth Brennan infuses the character of Sheila with the requisite energy and passion, her singing voice is not up to the vocal demands of the role.
The ensemble works hard to create a community on stage and there are a few musical numbers that remind you just how good this score still can be, particularly ‘Manchester England’ and the title song. A special shout out to Giorgia Kennedy’s vocally splendid performance of ‘Frank Mills’ and the comedic brilliance of Maverick Newman.
While this production of Hair did eventually start to grow on me, sadly it was a case of too little too late. Amidst all the heightened comedy and overblown characterisations, the emotional heart of the piece is lost. Hopefully in the future a more fully realised and adventurous production will bring the message of peace and love to a new audience.
Hair, presented by Greg Elston, Greg Hocking and the Australian Shakespeare Company, plays Melbourne’s Atheneum Theatre until 30 November 2025.
