GHD Precious Gift Set

2000s

In 2001, the Reprise! theatre company in Los Angeles performed Hair at
the Wadsworth Theatre, starring Steven Weber as Berger, Sam Harris as
Claude and Jennifer Leigh Warren as Sheila.[165] That same year,
Encores! Great American Musicals in Concert ended its 2001 City Center
season with a production of Hair starring Luther Creek, Idina Menzel,
Jessica-Snow Wilson and Tom Plotkin, and featuring Hair composer Galt
MacDermot on stage playing the keyboards.[166] An Actors' Fund benefit
of the show was performed for one night at the New Amsterdam Theater
in New York City in 2004. The Tribe included Shoshana Bean, Raul
Esparza, Jim J. Bullock, Liz Callaway, Gavin Creel, Harvey Fierstein,
Ana Gasteyer, Annie Golden, Jennifer Hudson, Julia Murney, Jai
Rodriguez, RuPaul, Michael McKean, Laura Benanti and Adam Pascal.[167]

In 2005, a London production opened at the Gate Theatre, directed by
Daniel Kramer. James Rado approved an updating of the musical's script
to place it in the context of the 2003 Gulf War instead of the Vietnam
War.[168] Kramer's modernized interpretation included "Aquarius" sung
over a megaphone in Times Square, and nudity that called to mind
images from Abu Ghraib.[169] In March 2006, Rado collaborated with
director Robert Prior for a CanStage production of Hair in Toronto,
[170] and a revival produced by Pieter Toerien toured South Africa in
2007. Directed by Paul Warwick Griffin, with choreography by Timothy
Le Roux, the show ran at the Montecasino Theatre in Johannesburg and
at Theatre on the Bay in Cape Town.[171] A two-week run is scheduled
to open at the Teatro Tapia in Old San Juan, Puerto Rico, in March
2010, directed by Yinoelle Colón.[172]

Michael Butler produced Hair at the MET Theatre in Los Angeles from
September 14 through December 30, 2007. The show was directed and
choreographed by Bo Crowell, with musical direction from Christian
Nesmith (son of Michael Nesmith). The Tribe featured James Barry, Lee
Ferris, Johanna Unger, Dawn Worrall and Trance Thompson.[173][174]
Butler's production of Hair won the LA Weekly Theater Award for
Musical of the Year.[175]

It was a show about now when we did it. Now it's a show about then –
but it's still about now.
James Rado, 2008[128]

For three nights in September 2007, Joe's Pub and the Public Theatre
presented a 40th anniversary production of Hair at the Delacorte
Theater in Central Park. This concert version, directed by Diane
Paulus, featured Jonathan Groff as Claude and Galt MacDermot on stage
on the keyboards. The cast also included Karen Olivo as Sheila, Will
Swenson as Berger, Darius Nichols as Hud and Megan Lawrence.[176]
Actors from the original Broadway production joined the cast on stage
during the encore of "Let the Sun Shine In." Demand for the show was
overwhelming, as long lines and overnight waits for tickets far
exceeded that for other Delacorte productions such as Mother Courage
and Her Children toplined by Meryl Streep and Kevin Kline.[177]
2009 Broadway revival poster

Nine months later, The Public Theater presented a fully-staged
production of Hair at the Delacorte in a limited run from July 22,
2008 to September 14, 2008.[178] Paulus again directed, with
choreography by Karole Armitage. Groff and Swenson returned as Claude
and Berger, together with others from the concert cast.[179] Caryn Lyn-
Manuel played Sheila, and Christopher J. Hanke replaced Groff as
Claude on August 17.[180] Reviews were generally positive, with Ben
Brantley of The New York Times writing that "this production
establishes the show as more than a vivacious period piece. Hair, it
seems, has deeper roots than anyone remembered".[181] Time magazine
wrote, "Hair... has been reinvigorated and reclaimed as one of the
great milestones in musical-theatre history.... Today Hair seems, if
anything, more daring than ever."[3]
[edit] 2009 Broadway revival and 2010 U.S. National Tour

The Public Theater production transferred to Broadway at the Al
Hirschfeld Theatre, beginning previews on March 6, 2009, with an
official opening on March 31, 2009. Paulus and Armitage again directed
and choreographed, and most of the cast returned from the production
in the park. A pre-performance ticket lottery was held nightly for $25
box-seat tickets.[182] The opening cast included Gavin Creel as
Claude, Will Swenson as Berger, Caissie Levy as Sheila, Allison Case
as Crissy, Darius Nichols as Hud, Bryce Ryness as Woof, Kacie Sheik as
Jeanie, Megan Lawrence as Mom, Andrew Kober as Dad and Margaret Mead,
and Sasha Allen as Dionne.[183] Designers included Scott Pask (sets),
Michael McDonald (costumes) and Kevin Adams (lighting).[184]

Critical response was almost uniformly positive.[185] The New York
Daily News headline proclaimed "Hair Revival's High Fun". The review
praised the daring direction, "colorfully kinetic" choreography and
technical accomplishments of the show, especially the lighting,
commening that "as a smile-inducing celebration of life and freedom,
[Hair is] highly communicable"; but warning: "If you're seated on the
aisle, count on [the cast] to be in your face or your lap or ...
braiding your tresses."[186] The New York Post wrote that the
production "has emerged triumphant.... These days, the nation is
fixated less on war and more on the economy. As a result, the scenes
that resonate most are the ones in which the kids exultantly reject
the rat race."[187] Variety enthused, "Director Diane Paulus and her
prodigiously talented cast connect with the material in ways that cut
right to the 1967 rock musical's heart, generating tremendous energy
that radiates to the rafters.... What could have been mere nostalgia
instead becomes a full-immersion happening.... If this explosive
production doesn't stir something in you, it may be time to check your
pulse."[188] The Boston Globe dissented, saying that the production
"felt canned" and "overblown" and that the revival "feels unbearably
naive and unforgivably glib".[189] Ben Brantley, writing for The New
York Times, reflected the majority, however, delivering a glowing
review:

Having moved indoors to Broadway from the Delacorte Theater ...
the young cast members ... show no signs of becoming domesticated. On
the contrary, they’re tearing down the house. ... This emotionally
rich revival ... delivers what Broadway otherwise hasn't felt this
season: the intense, unadulterated joy and anguish of that bi-polar
state called youth. ... Karole Armitage's happy hippie choreography,
with its group gropes and mass writhing, looks as if it's being
invented on the spot. But there's intelligent form within the seeming
formlessness. ... [Paulus finds] depths of character and feeling in
[the 1968 show about kids] frightened of how the future is going to
change them and of not knowing what comes next. ... Every single
ensemble member emerges as an individual. ... After the show I
couldn’t stop thinking about what would happen to [the characters].
Mr. MacDermot's music, which always had more pop than acid, holds up
beautifully, given infectious life by the onstage band and the
flavorfully blended voices of the cast.[190]

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