Hair, at Athenaeum Theatre - 2 hours 20 minutes, including interval

Given the state of the world, the anti-war message carried by the tribal, love, rock musical Hair is as relevant today as when it exploded onto the stage in 1967.

With a book and lyrics by Gerome Ragni and James Rado, and music by Galt MacDermot, it began off-Broadway that year.

It started its Broadway and West End runs the following year.

Photo by Ben Fon

The US was embroiled in the Vietnam War.

A flood of young men was drafted (2.2 million conscripted between 1964 and 1973), many sent to their deaths in an environment decidedly foreign to them.

Characterised by a youth-led counterculture, the hippie movement was in full swing.

Conservative values were being challenged, free love readily practiced and drugs hip and rife. Tripping became normative, often worn as a badge of honour.

In New York City, we are introduced to this bohemian lifestyle by Berger (Maxwell Simon) and his friend Claude (Alex Cooper), along with their extended circle.

That includes activist and protestor Sheila (Elizabeth Brennan), who is hung up on free-spirited Berger.

At the same time, idealistic, pregnant environmentalist Jeanie (Rosie Meader), “knocked up by some crazy speed freak”, loves Claude.

Hud (Clay Darius) is a militant African American. Woof (Jackson McGovern) is a wandering soul, who doesn’t want to be seen as gay, but has a penchant for Mick Jagger.

Scared and unsure what to do, Claude’s number has come up.

Encouraged to burn his draft card, he freaks out while wildly tripping, confronting the potential horrors of what is to come.

This new production of Hair is true to the spirit of the time and is very well realised by a lyrical cast that readily gels.

Maxwell Simon has a strong stage presence as the nominal leader of the group.

Alex Cooper delivers with a series of potent numbers, underpinning his vocal assuredness.

Elizabeth Brennan brings intensity to her portrayal of Sheila.

There is a natural beauty to the glorified view that Rosie Meader has as Jeanie.

She, along with fellow cast member Giorgia Kennedy as Crissy, have honeyed pipes.

Clay Darius generates “scary” good humoured banter as Hud, while much of the time you think that Jackson McGovern is wandering around in his own world as Woof.

Dextrous Maverick Newman plays several roles, injecting comedy and flair, including a memorable scene as the wife of an older couple.

Linden Trescott is a modern-day Adonis, with bulging biceps and a six pack to die for. He is called upon to perform a few impressive acrobatic and athletic feats.  

Flower power costuming is critical. Fortunately, costume designer Karla Erenbots doesn’t hold back in that regard and the production is enriched because of it.

The set design, complete with black and white projections of the era when one enters the theatre, is bold and evocative.

Harrison Cope’s lighting design is atmospheric, while Will Burston’s sound design is redolent.

Scene and set changes appear effortless, undoubtedly aided by Sue-Ellen Shook’s splendid choreography.

The notorious nude scene, controversial back in the day, sees the cast emerging from under a large, round, white parachute, naked as the day they were born.

It speaks of liberation, rejection of society taboos and stripping away false values, and remains impactful, coming as it does to close Act I.

Under musical director Colin Snape, the band is in fine fettle, bringing vibrancy to the music of the times.

The expression “leave the audience wanting more” rings true when a rousing rendition of Let the Sunshine In with the full cast provides a memorable send off.

Director Glenn Elston OAM delivers an engaging and entertaining musical, performed with enthusiasm and polish.

Hair is on at Athenaeum Theatre until 30^th November, 2025.