Good Morning Starshine! Iconic rock musical Hair radiates its message of freedom, love, and self expression in this very welcome, lovingly produced revival. 

Cherished by generations, Hair, known as the tribal love–rock musical, changed Broadway forever in 1968 with its rock music, contemporary characters, and fluid, free-wheeling staging. Hair introduced the “concept musical,” paving the way for Company, Cats, and even Hamilton. 

Long overdue for a local revival, this relatively modest production of Hair succeeds by combination of the winning performances of its fresh young cast and its courage in presenting the musical as originally written. 

Director Glen Elston does not shy from the language or images in the book and lyrics of Gerome Ragini and James Rado, rightfully trusting this new generation of performers to make the characters and stories their own. As with all modern productions, the company of Hair is filled with triple threats whose talent is supported by expert training. Elston’s evident care with casting sees the stage filled with terrific singer dancers who readily colour the work with highly characterful performances.

It would not be Hair without the famous nude scene that ends act one. While some of the ideas and language have long lost their ability to shock a modern audience, there is still something so powerful about this scene. The trust and openness of the performers forges an inalienable bond with the audience that anchors the success of the entire evening. 

Providing arrangements for the smoking hot band of five musicians, music director Colin Snape leads the on-stage musicians in a rocking performance of Galt MacDermot’s well known score. Vocals are expertly prepared and arranged by Lindsay Field. While the odd microphone cue was dropped on opening night, the balance and power of the music bring a rock concert vibe without overpowering the theatre. 

Bringing out the full talents of the cast, choreographer Sue-Ellen Shook infuses company dance with abundant joy. While the tight synchronisation of dance numbers indicates an impressive level of rehearsal, this tends to take away from the overall sense of spontaneity that is inherent in the work. Hand actions are often too literal and simplistic. The second act sees a far more fluid style in the extended drug trip sequence and this is where Shook’s choreography really takes flight.

Production designer Kaspa makes impressive use of the tight Athenaeum stage, allowing an organic feel to the storytelling as the cast casually move ladders and platforms into place. Overhead screens display atmospheric projections, supported by the lighting design of Harrison Cope, especially during the extended psychedelic drug trip of Claude in act two. Given that the action takes place in basically the one location, Casper and Cope provide plenty of visual interest and variety as the musical progresses. 

Costume designer Karla Erenbots vividly captures the delightful flower power aesthetic strongly associated with Hair. Erenbots plays to the individuality of the cast members, who all look distinct, comfortable, and empowered throughout the performance. 

Each of the 18 performers in this new “tribe” of Hair give their all, working as a tight ensemble and each optimising their moments to shine in the spotlight.

Immersing himself in the free-loving bliss of Berger, Maxwell Simon leads the tribe with a naturally charismatic and engaging presence. Simon strengthens his characterisation by not shying from the unpleasantness of Berger’s bouts of selfishness. Simon’s danced expression of Berger’s ultimate grief and shock brings the show to a very moving conclusion. 

Clearly distinguishing Claude from fellow lead male Berger, Alex Cooper effectively conveys the guilt underpinning the pressure that Claude faces to burn his Vietnam War draft card. 

Elizabeth Brennan brings a mature and soulful presence to Sheila, lover of Berger, shining in heartfelt ballad “Easy to be Herd.”

Standout featured players include Clay Darius as hard man Hud, Rosie Meader as wide-eyed sweetheart Jeanie, and Jackson McGovern as masculine prankster Woof. Giorgia Kennedy is a delight as dear Crissy, lamenting the loss of her all too brief love, “Frank Mills.”

A clear audience favourite is twinkle-eyed charmer Maverick Newman, who steals the latter half of act one as outraged audience member “Iris” and wins laughs as an hallucinogenic monk in act two. Newman and Max Macdonald deliver a gorgeous rendition of tender duet “What A Piece of Work Is Man.”

Ideally housed in the relatively intimate Athenaeum Theatre, Hair is set to entertain a new generation of theatregoers whilst providing heady nostalgia for longterm fans.

Hair plays at Athenaeum Theatre, Melbourne until 30 November 2025. For tickets, click here.

Photos: Ben Fon