"Hair: The American Tribal Love-Rock Musical" is more than just a collection of songs; it is a vibrant and provocative exploration of the hippie counterculture and sexual revolution of the late 1960s. Through its narrative and musical numbers, the show delves into themes of anti-war sentiment, racial integration, sexual freedom, drug use, and a unique blend of spirituality and astrology. The creators, Gerome Ragni and James Rado, along with composer
Galt MacDermot, crafted a work that not only reflected the anxieties and aspirations of a generation but also challenged societal norms, making it a powerful piece of social commentary.
Anti-War Sentiment and the Draft
At its core, "Hair" is deeply rooted in the anti-Vietnam War movement. The central conflict revolves around Claude, who must decide whether to resist the draft, like his friends, or serve in Vietnam, compromising his pacifist principles. The musical vividly portrays the tribe's rebellion against conscription and their conservative parents and society. Songs like "Let the Sun Shine In" became anthems for the anti-war movement, encapsulating the hope for peace and understanding. The act of burning draft cards, a symbolic gesture of defiance, is depicted in the show, with Claude initially participating before reconsidering, highlighting the personal struggle faced by many young men of the era. The musical's producer, Michael Butler, even stated his intention for the show to be "the strongest anti-war statement ever written," aiming to influence public opinion.
Race, Integration, and Identity
"Hair" broke significant ground in its depiction of race on the Broadway stage. Extending precedents set by earlier musicals, it opened the Broadway musical to racial integration, with fully one-third of its cast being African American. This was a radical departure from traditional roles, portraying black tribe members as equals rather than slaves or servants. An *Ebony* article even hailed the show as the biggest outlet for black actors in U.S. stage history. Several songs directly address racial issues, such as "Colored Spade," which introduces Hud, a militant black man, through a list of racial slurs, and "Dead End," sung by black tribe members, listing street signs symbolizing black frustration. "Black Boys/White Boys" exuberantly acknowledges interracial sexual attraction, a particularly poignant theme given that the U.S. Supreme Court had only struck down laws banning interracial marriage in 1967. The musical also incorporates Native American references, with characters referred to as the "tribe," reflecting the hippie movement's anti-consumerist and naturalist focus.
Nudity, Sexual Freedom, and Drug Use
One of the most controversial and talked-about aspects of "Hair" was its brief nude scene at the end of Act I. While it lasted only 20 seconds, it generated significant notoriety and threats of censorship. However, the nudity was intended as a statement about naturalism, spirituality, honesty, and freedom, rejecting the sexual repression of the time. Performers had the option to participate, and different international productions approached it with varying degrees of openness. Donna Summer, who was in the German production, explained that it "was not meant to be sexual... We stood naked to comment on the fact that society makes more of nudity than killing." Beyond nudity, the musical glorifies sexual freedom through its "free love" lifestyle, portraying characters' romantic entanglements and open discussions about who will sleep with whom. The song "Sodomy" explicitly encourages sexual exploration. The show also depicts the use of illegal drugs, particularly hallucinogens like LSD and marijuana, during the "trip" sequence, with songs like "Walking in Space" and "Donna" referencing their mind-expanding effects.
Religion, Astrology, and the Age of Aquarius
Religion, especially Catholicism, appears throughout "Hair," often as the subject of jokes or symbolic representation. Berger's search for "my Donna" carries a double meaning, referencing both a woman and the Madonna. Religious imagery is used provocatively, such as during "Sodomy," where the cast strikes evocative religious positions like the Pietà. Claude is frequently portrayed as a Christ figure, suffering from indecision and ultimately chosen to give his life. The musical also deeply integrates 1960s cultural interests in astrology and cosmic concepts. Songs like "Aquarius" and "Good Morning, Starshine" reflect this fascination. The company even employed an astrologer, Maria Crummere, who was consulted on casting decisions and opening dates for productions, believing that astrological alignments could influence the show's success and reception. This blend of spiritual and cosmic themes further cemented "Hair" as a reflection of its unique cultural moment.
