HAIR celebrates the sixties counterculture in all its barefoot, long-haired, bell-bottomed, beaded and fringed glory. To an infectiously energetic rock beat, the show wows audiences with songs like "Aquarius," "Good Morning, Starshine," "Hair," "I Got Life," and "Let The Sun Shine." Exploring ideas of identity, community, global responsibility and peace, HAIR remains relevant as ever as it examines what it means to be a young person in a changing world.

Music samples provided courtesy of Ghostlight Records and Sony/ATV Music Publishing Photo by Judith Licht, courtesy of Woodrow Wilson High School, Washington DC


In the age of “Aquarius,” a time of harmony and understanding, a tribe of hippies gathers onstage. George Berger, the tribe’s most expressive member, addresses the audience directly and explains that he seeks his ideal woman (“Donna”). Members of the tribe mock racism  (“Colored Spade”) and celebrate diversity (“I’m Black”).

Claude, the moral center of the group, explains his dream of living in “Manchester, England” while others lament – or brag about – their lack of privilege and possessions (“Ain’t Got No”). Shelia Franklin, an NYU student and antiwar protestor, declares “I Believe in Love,” and Jeanie, an idealistic, pregnant environmentalist, satirizes the world’s deteriorating “Air.”

Berger recounts his recent banishment from high school in “Goin’ Down.” Claude reveals that he has been drafted, but he and Berger choose to reject their draft notices, and instead celebrate their “Hair.” (“Give me a head with hair, long beautiful hair, shining, gleaming, steaming, flaxen, waxen…”)

Sheila gives Berger a new yellow shirt, but he cruelly spurns her gift. She reminds him that he’s quick to feel empathy for the masses, but he comes up short in personal relationships (“Easy to Be Hard”).

As the flower children are leaving to attend a Be-In, one girl, Crissy, alone in her thoughts, sings of a boy she once met and of her longings to meet him again (“Frank Mills”). At the “Be-In,” the boys all burn their draft cards in an anti-war demonstration. Claude begins to toss his card to the fire, but changes his mind and removes it, wondering how he fits in to this changing world (“Where Do I Go?”).

During a drug-induced hallucination (“Walking in Space”), Claude visualizes George Washington retreating, Indians shooting white men, famous American characters being attacked by African shamans, Abraham Lincoln patronizing American slaves, and stylized mass murders. After the violence, Claude sees his Mom, Dad and a Sergeant beaming with pride over his enrollment in the Army. They fade from view, replaced by the flower children who turn into horrible monsters and start killing one another; directing their aggressive actions towards Claude (“Three-Five-Zero-Zero”). Two tribe members, observing this scene of destruction, wonder “What a Piece of Work Is Man.”

Claude realizes that once he’s inducted into the Army, he will miss all of life’s simple pleasures (“Good Morning, Starshine” and “The Bed”), and he exits with a feeling of doom “Ain’t Got No (Reprise).”

Claude soon re-enters, stiffly dressed in a military uniform, but his friends are unable to see or hear him as he sings of his regrets (“The Flesh Failures”). Separated from his tribe and presumably killed in the war, Claude lies on his back, motionless. The tribe, seeking hope in the wake of loss, sings “Let the Sun Shine In.”



Book and Lyrics by          Music by

Gerome Ragni & James Rado   Galt MacDermot

Produced for the Broadway stage by Michael Butler

Originally Produced by the New York Shakespeare Festival Theatre


The foregoing credits shall be displayed immediately below the title in size no less than sixty percent (60%) of the height of the title (or largest billing) and equal in width, style, shape, color, boldness and prominence. No person other than star(s) above the title shall have a larger billing, and no one other than the director shall have equal billing. In the programs the credits shall appear on the title page thereof.

The title page of the program shall contain the following announcement in type size at least one-half the size of the authors’ credits:

is presented by arrangement with
560 Lexington Avenue, New York, New York 10022


Full Orchestration

1 Baritone Saxophone (Flute, Piccolo & Clarinet)
1 Trumpet I
1 Trumpet II
1 Trumpet III (optional)
1 Trombone (optional)

1 Bass (electric)
1 Drums (trap drum set)
1 Percussion:

Bongo Drums
Conga Drum
Bell Tree
Wood Block
Temple Blocks
Indian Drums (optional)
Quica (Lion’s roar)
or Claves
or Bongos
Tubose (Scraper)
or Tambourine
Tower Clock Chime (sfx)

2 Guitars I & II

I: acoustic & electric
II: electric & bass

1 Piano (Electric Piano or Synthesizer)
Piano-Conductor’s score sent with rehearsal material.

In place of an Overture the lead guitarist improvises “Outer Space Flying Saucer Pyramid” music, in the style of Jimi Hendrix. During this music, a stage ritual is performed which evolves directly into the opening musical number, “Aquarius.”

(The Piano part includes music for Organ and Sitar)

Rehearsal Materials

1       Piano Conductor’s Score
1       Prompt Book for Director
30     Prompt Books for Cast
30     Chorus-Vocal Parts

Cast List


(5 female; 7 male)

Margaret Mead

Other Members of the Tribe


… who play the following characters in the course of the show:

3 Moms, 3 Dads, 3 High School Principals, 2 Policemen,
Electric Blues Quartet (Oldsters),
White Girls Trio,
Black Boys Trio,
“The Supremes” Trio,
Army Sergeant, Abraham Lincoln, John Wilkes Booth, Calvin Coolidge, Clark Gable,
Scarlett O’Hara, Aretha Franklin, Colonel Custer, Shoeshine Boy,
3 Buddhist Monks, 1 Thousand-Year-Old Monk, 3 Catholic Nuns,
3 Astronauts, 3 Chinese, 3 Guerillas, 1 Native American Indian
and Others

The original Broadway production had a cast of 23 performers, including chorus. Doubling was employed as indicated above.

Brief History

When HAIR moved to the Biltmore Theatre on Broadway after 144 Off-Broadway performances at Joseph Papp’s Public Theatre, it played for 1,750 performances starring James Rado, Gerome Ragni, Lynn Kellogg, and Sally Eaton. It was revived on Broadway in 1977 at the Biltmore Theatre starring Randall Easterbrook, Michael Holt, Ellen Foley and Iris Rosenkrantz. In 2009, it returned to Broadway and played for 519 performances at the Al Hirshfeld Theatre starring Gavin Creel, Will Swenson, Caissie Levy and Megan Lawrence.

Awards (1968)

The Drama Desk Award for Music

Awards (2009)

The Tony Award for Best Revival of a Musical
The Drama Desk Award for Outstanding Revival of a Musical