Digital Booklet - Hair

8/10/2019 Digital Booklet - Hair

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The American Tribal Love-Rock Musical

The New Broadway Cast Recording

Book and Lyrics byGEROME RAGNI and JAMES RADO

Music byGALT MACDERMOT


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AQUARIUSSasha Allen (center) and the Tribe


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THE CAST (in order of appearance):Dionne:Sasha Allen

Berger:Will Swenson

Woof:Bryce Ryness

Hud:Darius Nichols

Claude: Gavin Creel

Sheila:Caissie Levy

Jeanie:Kacie Sheik

Crissy:Allison Case

Mother/Buddhadalirama: Megan Lawrence

Dad/Margaret Mead: Andrew Kober

Hubert:Theo Stockman

Abraham Lincoln:Saycon Sengbloh

tribe members: Ato Blankson-Wood, Steel Burkhardt, Jackie Burns,

Briana Carlson-Goodman, Lauren Elder, Allison Guinn, Chasten Harmon,

Anthony Hollock, Jay Armstrong Johnson, Kaitlin Kiyan, Andrew Kober,

Josh Lamon, Megan Lawrence, Nicole Lewis, Ryan Link, John Moauro,Brandon Pearson, Megan Reinking, Paris Remillard, Michael James Scott,

Saycon Sengbloh, Maya Sharpe, Theo Stockman, Tommar Wilson

TRACK LIST

THE BAND:Music Director/Conductor/Keyboard:Nadia Digiallonardo

Assistant Conductor/Keyboard:Lon Hoyt

Guitars:Steve Bargonetti, Andrew Schwartz

Bass:Wilbur Bascomb

Woodwinds: Allen Won

Trumpets:Elaine Burt, Ronald Buttacavoli, Christian Jaudes

Trombone: Vincent MacDermot

Percussion:Joe Cardello, Erik Charlston

Drums:Bernard Purdie

ACT 11. Aquarius (Dionne and Tribe)

2. Donna (Berger and Tribe)

3. Hashish (Tribe)

4. Sodomy (Woof and Tribe)

5. Colored Spade (Hud and Tribe)

6. Manchester England (Claude and Tribe)

7. Im Black/Aint Got No (Hud, Woof, Berger, Claude, Dionne and Tribe)

8. Sheila Franklin/I Believe In Love(Sheila and Tribe)

9. Aint Got No Grass(Tribe)

10. Air(Jeanie with Crissy and Dionne)

11. Kama Sutra/The Stone Age (Berger)

12. I Got Life (Claude and Tribe)

13. Initials(Tribe)

14. Going Down (Berger and Tribe)

15. Hair(Claude, Berger and Tribe)

16. My Conviction(Margaret Mead)

17. Easy to be Hard (Sheila)

18. Dont Put It Down (Berger, Woof, Tommar)

19. Frank Mills (Crissy)

20. Hare Krishna/Be-In (Tribe)

21. Where Do I Go? (Claude and Tribe)

ACT 222. Electric Blues (Steel, Andrew, Megan L., Nicole)

23. Oh Great God of Power/Manchester England [Reprise] (Tribe and Claude)

24. Black Boys (Megan R., Jackie, Kaitlin, Darius, Brandon, Tommar)

25. White Boys (Dionne, Nicole, Saycon)

26. Walking in Space (Dionne, Sheila, Jeanie and Tribe)

27. Minuet/African Drums

28. Yes, Is Finished on YAlls Farmlands (Darius, Ato, Brandon, Tommar)

29. four score/Abie Baby(Saycon, Ato, Darius, Brandon, Tommar)

30. Give Up All Desires/Hail Mary/roll call(Buddhadalirama, Woof, Sheila, Crissy, Jeanie, Allison G., Lauren)

31. Three-Five-Zero-Zero (Tribe)

32. What a Piece of Work is Man/How Dare They Try (Paris, Maya, Claude and Tribe)

33. Good Morning Starshine (Sheila and Tribe)

34. aquarius goodnights/Aint Got No/yip up the sun (Claude and Tribe)

35. The Flesh Failures/eyes look your last/Let the Sun Shine In(Claude, Sheila, Woof, Dionne, Jeanie, Crissy, Jackie and Tribe)

36. Curtain Call: Hair [Reprise] (Tribe)37. Curtain Call: Let The Sun Shine In [Reprise] (Tribe)


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hairGavin Creel, Will Swenson (center L to R), and the Tribe


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HAIR, THE PUBLIC AND THE PEOPLEOSKAR EUSTIS, ARTISTIC DIRECTOR, THE PUBLIC theater

HAIR was the first production at the Public Theater, the New York Shakespeare

Festivals beautiful home on Astor Place in the East Village. It was October, 1967,

and the cultural explosion that was HAIR announced not only the arrival of a

groundbreaking musical, but a new phase in the life of a seminal theater company.

For fourteen years Joe Papp had been producing Free Shakespeare in the parksof New York City; HAIR was his first production of a new play. He had begun

the Shakespeare Festival with the conviction that the greatest writer of all time,

Shakespeare, belonged to the people and had to be offered to them free, as their

birthright. By 1967 he recognized that he needed to complete the great democratic

circle by not only offering the people the canon, but also by putting the voice of

the people onstage, revitalizing the canon with new work.

HAIR was a brilliant, inspired choice. As vital and messy as the days headlines,

it was totally of the moment, and captured the hearts and ears of the nation. It

moved from its run at the Public to Broadway in the spring of 1968, the first of

many plays and musicals born at the Public to make that leap (Sticks And Bones, AChorus Line, For Colored Girls..., Bring In Da Noise/Bring In Da Funk, Caroline (OrChange), Passing Strange). By the time it closed on Broadway in 1972, its music hadbecome the soundtrack of a generation, the last theatrical musical to dominate

mainstream radio. It was shocking, fresh and powerful.

When I arrived at the Public in January of 2005, reviving HAIR was at the top of

my agenda. Our country was mired in a war in Iraq, faced with a national crisis

that resonated all too clearly with the world of the late 1960s. I had a personal

connection, as well: in 1972, as a young teenager hitchhiking across Europe, I had

danced onstage with the Tribe after the London production of HAIR. It was a

life-shaping moment for me; in that communal embrace I both found the theater,

which would become my life-long home, and began to imagine that my countrymight have a place for me, and those like me. HAIR mattered, personally and

politically: the question was how and where to bring it back.

It seemed to me that the power of the piece would be fully unlocked if we brought it

to the Delacorte Theater, our beautiful open-air amphitheater in the heart of Central

Park, and offered it up free, as a gift to the people of the city. In this way we would bring

together the two great strands of the Public Theater: free classics in the Park and vital

new American work. HAIR, the Publics first new play, had now become a classic.

Galt MacDermot and James Rado were enthusiastic, and both responded to

Diane Paulus, whose brilliant leadership became crucial to the entire enterprise.

We assembled a youthful tribe of extraordinary talent and commitment, withenough energy to light up New York City. The band may be the hottest show

band in Broadway history; Galts music has never sounded so good. From our

initial concert in the Park in 2007, to our full production in the Park and our move

to Broadway, the audience has embraced us with passion and joy.

The triumphant revival of HAIR, more than forty years after its opening, has proved

that HAIR has, indeed, become part of the canon. It is not diminished but deepened

by the lens of history. From the time we began working on the new production we

knew we had to reveal the underlying architecture of HAIR beneath its deceptively

casual surface. HAIR is both a tragedy and a celebration, and the emotional power of

the story, both in the Park and now on Broadway, flows from that understanding.

From our vantage point, it is possible to celebrate the innocence and optimism of

that earlier generation while simultaneously, and paradoxically, understanding its

failures and weaknesses. This Tribe that so desperately believes in changing the

world cant stop the war; they cant even prevent one of their own from being

drafted and killed. But in their failure, the beauty of their vision shines even more

clearly. Singing their shaggy hearts out, the Tribe members of HAIR have become

the better angels of our American nature. Let the sun shine in.

PRODUCTION HISTORYHAIR was first produced by Joseph Papp (Bernard Gersten, Associate Producer)at the New York Shakespeare Festival/Public Theater on October 29th, 1967,for 49 performances. It was directed by Gerald Freedman and choreographed byAnna Sokolow.

It moved to the club Cheetah on 52nd Street on December 12th, 1967 where it playedfor an additional 45 performances, closing there on January 28th, 1968.

Under the auspices of Michael Butler, the show, now directed by Tom OHorganand choreographed by Julie Arenal, began performances at the Biltmore Theatre onApril 11th, 1968, with an opening night on April 29th. It closed there on July 1st,1972 after playing 1,750 performances.

This production began its life as a concert for three performances under the auspicesof the Joseph Papp Public Theater (Oskar Eustis, Artistic Director) at the Delacorte

Theater in Central Park under the direction of Diane Paulus with choreography byKarole Armitage on September 22nd-24th, 2007.

On July 22nd, 2008, a full production, again under the direction of Ms. Paulus andwith choreography by Ms. Armitage, opened at the Delacorte Theater and played45 performances closing on September 14th, 2008.

This production transferred to the Al Hirschfeld Theatre on March 6th, 2009 withthe official opening on March 31st.


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manchester englandGavin Creel, Bryce Ryness (under Gavin), and the Tribe


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TIME TO LET THE SUN SHINE IN: HAIR 2009By Diane Paulus

In March 2007, I got a call from the Public Theater: We are thinking about doing arevival of the musical HAIR. Would you be interested in directing this? I almost droppedthe telephone. I am a HAIR fanatic, I responded. I know all the words to every songby heart this would be a dream come true. I did know all the music by heart. I grew uplistening to the album, blissfully singing Sodomy at the top of my lungs when I was only

ten years old. I saw the movie in 1979, when my big brother took me to see the premiereat the Ziegfield Theater in Manhattan. But I had never seen the stage show. Can yousend me a script? I asked.

The first script I looked at was actually an old paperback book that Oskar Eustis,Artistic Director of the Public Theater, had picked up years ago in a second handstore. It was the script from the Off-Broadway production that opened at the Public

Theater in October 1967. I was subsequently sent the script representing the Broadwayproduction of HAIR that opened in April 1968. I was amazed at how different thetwo versions were. At my first meeting with composer Galt MacDermot and writer

Jim Rado, I told them how passionate I was about having the opportunity to give thenext generation of audiences who were too young to have seen HAIR on Broadway(like me) the chance to finally experience the show live. After the meeting, Jim Rado

walked me to the subway and told me about other versions of the script that he had beenworking on for the last forty years. You might want to take a look at those too, he said.

Thus began an in-depth process of reworking the show that culminated in the Broadwayrevival of HAIR that opened at the Al Hirschfeld Theater on March 31, 2009. GeromeRagni passed away in 1991, but with the blessing of Gerrys son, Erick Ragni, Jim and Ipoured over all the versions of the book of HAIR, carefully crafting a version of the showthat we felt would best work for this revival. We cut a lot of text, allowing the songs toflow more swiftly, but we also put lines back in the script from the Off-Broadway scriptthat had been cut when the show moved to Broadway lines that we felt would resonate

with our audience today in relation to our recent politics, like when the Father says atthe Be-In We are fighting a war. Use atomic weapons and win it, for Crissake. Havefaith in God and Nation and the Military-Industrial complex. Jim also wrote new lines

for the script. How could we expect a young audience today to understand the stakesof what it meant to burn your draft card? In response to Huds line Were all Vietnambait, Dionne now says Not if you burn your draft card, and the Tribe men respondYeah, and go to prison. Five years hard labor! -- which was the law, passed in the fallof 1965 if you knowingly mutilated or destroyed your draft card. More fundamentally,

we worked to focus the show on the story of Claude, a young man in the Tribe whois deeply conflicted about what it means to be an American. He knows it is wrong tokill and, like many young men facing the reality of going to war, does not want todie. And yet, he cannot burn his draft card. The Tribe tries to keep him from going to

war in every way they know how -- enveloping him in their love, offering enlightenmentthrough drugs, even giving him Sheila, the woman he professes to love. In the end, theycannot save him. In the final scene when the Tribe is protesting outside the US ArmyInduction Center, Claude appears in full military regalia, and tells Berger with almosta smile on his face: Like it or not, they got me. He is invisible to them, and yet the

Tribe knows they have lost him. Let the Sun Shine In becomes a desperate plea for a

better world. The show ends with the Tribe singing these words as they exit throughthe audience, only to reveal the image of Claude, lying dead on the American flag.

We started this process with a concert version of the show that played for three nights atthe Delacorte Theater in Central Park in September 2007. I told Oskar Eustis that evenfor this concert, the casting had to be right. We spent months in auditions, unearthingcandidates for this new Tribe from every corner we could. They had to be fierce singers,and Galt was at my side, vetting every single person who came through the door. Buteven with the singing, it was not about technical proficiency or experience. Galt wouldoften say nice voice, but it didnt move me. We were looking for people who made

us feel they were singing these songs from their heart and soul that they cared aboutthe issues in this show from the core of their being. The Tribe we put together for thisconcert at the Delacorte has journeyed from Central Park to Broadway. They havegrown and bonded over the years of being together, but most importantly they continueto open their hearts to every audience at the Hirschfeld, on a mission to deliver themessage of this show with utter commitment and conviction with every performance.

One of the original cast members from the 1968 Broadway production came to seeour concert in 2007. She told us that for years, she was unable to see any productionof HAIR. It was just too intense to revisit the experience, she explained. Whenthey were doing the show in 68 during the height of the Vietnam war, they wouldexit the stage door and be confronted by young men from the audience who wouldask the actors What should I do with my life? Should I go overseas and kill for

a war I dont believe in? Or should I kill myself to avoid this fate? She then toldus she felt the time had come when it was necessary to dig into all this once again.

Following that concert, the Public Theater decided to produce HAIR in Central Park inthe summer of 2008 as a full production. At that time we were nearing the end of theBush administration, and the audience in the park was full of people of all ages that sawin the show the outcry for change that was sweeping the nation. Under the stars and themoon of Central Park, the age of Aquarius was reborn night after night. Flying on thecritical and popular enthusiasm from that production, it was decided to move the showto Broadway, and so for the third time in as many years, we reconceived the show - thistime for a large Broadway house. Between September 2008 and January 2009 somethingelse had changed as well. Instead of the dark days of a Presidential administration thathad the lowest approval ratings in history, the country, while still in the midst of a huge

economic crisis and the muddle of the war in Iraq, was also full of optimism for the Obamaadministration. What five months earlier in the Park had been an outdoor experience thathad tracked the nations anxious cry for change somehow needed to become an indoorhippie happening that celebrated hope for the future while still honoring the past. OnMarch 31st, after four weeks of previews, a new HAIR opened again on Broadway to acritical and popular reception that was even more than we had hoped for and imagined.

We may not be shocked by HAIR anymore. It is no longer surprising to see people withlong hair and hippie clothes cavorting on a Broadway stage, or to see them without theirclothes on. But we can be moved by HAIR in a whole new way now moved by what

young people of America fought for in the 1960s: A country they loved so much thatthey refused to quietly accept a vision of their nation that they did not believe in. Theybelieved they could change the world, and make it a better place. Forty two years later,

this message is finally coming back to life.


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Kacie Sheik Allison Case


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L to R: Caissie Levy and Gavin Creel Andrew Kober (left), Will Swenson and the Tribe


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Bryce Ryness Darius Nichols


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Saycon Sengbloh Theo StockmanMegan Lawrence


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going downWill Swenson (center) and the Tribe


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dont put it downL to R: Tommar Wilson, Will Swenson, Bryce Ryness


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Recorded April 6th 2009 at Legacy Studios, NYC

Produced for Records by Joel Moss and Kurt DeutschAlbum Executive Producer: Bill Rosenfield

Associate Album Producers: Noah Cornman and Steve NormanRecorded, Engineered and Edited by Joel MossAssistant Engineer and Additional Editing: David HermanAssistant Engineers (Legacy): Ian Kagey, Derek Lee, Ryan KellyPro-Tools Operator: Angie TeoCue Mixer: Chris Jennings

Music Coordinator: Seymour Red PressAdditional Recording by John Kilgore at John Kilgore SoundMastered by Scott Hull at Scott Hull MasteringProduction Assistants: Kate Rousseau, Joey Oliva, Johnna Jackson, Kate Micari

All Songs: Music by Galt MacDermot, Lyrics by James Rado and Gerome Ragni 1967, 1968 Renewed 1995, 1996 United Artist Music Co., Inc and Channel HProductions. Rights Assigned to EMI CATALOGUE PARTNERSHIPAll Rights Controlled and Administered by EMI U CATALOG INC. (ASCAP)All Rights Reserved. International Copyright Secured. Used By Permission.

Steve Bargonetti uses Fender Guitars & Amps, and DAddario Strings

Package Design: Jessica Disbrow TalleyProduction Photography: Joan MarcusDigipack interior image courtesy of Scott Pask

General Management: Joey Parnes John Johnson / S. D. WagnerManagement Associate: Maddie FelixCompany Managers: Kim Sellon, Leslie Glassburn, Kit InguiProduction Stage Manager: Nancy HarringtonStage Managers: Julie Baldauff, Elizabeth MillerShow Press Representative: O&M Co.

Rick Miramontez/Molly Barnett/Philip Carrubba/Elizabeth Wagner

For the Public Theater:

Artistic Director: Oskar EustisExecutive Director: Andrew D. HamingsonAssociate Producer: Jenny GerstenDirector of Communications: Candi AdamsDirector of Marketing: Ilene Rosen

Special Thanks to: Biff Liff, David Schmerler, Seth Gelblum, Allan Arrow,Rob Harris, Terri-Lynn Pellegri, Rob Fisher, Tom Kitt, and Chris Bubacz.

www.ghostlightrecords.comwww.haironbroadway.com

THE PUBLIC THEATEROskar Eustis, Artistic Director Andrew D. Hamingson, Executive Director

JEFFREY RICHARDS JERRY FRANKELGARY GODDARD ENTERTAINMENT KATHLEEN K. JOHNSON NEDERLANDER PRODUCTIONS, INC.

FRAN KIRMSER PRODUCTIONS/JED BERNSTEIN MARC FRANKEL BROADWAY ACROSS AMERICABARBARA MANOCHERIAN/WENCA RLAR PRODUCTIONS JK PRODUCTIONS/TERRY SCHNUCK

ANDY SANDBE RG JAM THEATRICALS THE WEINSTEIN COMPANY/NORTO N HERRICKJUJAMCYN THEATERS

JOEY PARNES Executive Producer

by special arrangement with

ELIZABETH IRELAND McCANNpresent

The American Tribal Love-Rock Musical

Book & Lyrics by Music by

GEROME RAGNI & JAMES RADO GALT MacDERMOTwith

SASHA ALLEN ALLISON CASE GAVIN CREEL CAISSIE LEVY

DARIUS NICHOLS BRYCE RYNESS KACIE SHEIK WILL SWENSONand

ATO BLANKSON-WOOD STEEL BURKHARDT JACKIE BURNS BRIANA CARLSON-GOODMAN

LAUREN ELDER ALLISON GUINN CHASTEN HARMON ANTHONY HOLLOCK KAITLIN KIYAN

JAY ARMSTRONG JOHNSON ANDREW KOBER JOSH LAMON MEGAN LAWRENCE NICOLE LEWIS

RYAN LINK JOHN MOAURO BRANDON PEARSON MEGAN REINKING PARIS REMILLARD

MICHAEL JAMES SCOTT SAYCON SENGBLOH MAYA SHARPE THEO STOCKMAN TOMMAR WILSON

Scenic Design Costume Design Lighting Design Sound Design

SCOTT PASK MICHAEL McDONALD KEVIN ADAMS ACME SOUND PARTNERS

Orchestrations Music Director Music Coordinator

GALT MacDERMOT NADIA DIGIALLONARDO SEYMOUR RED PRESS

Casting Production Stage Manager Wig Design

JORDAN THALER & HEIDI GRIFFITHS NANCY HARRINGTON GERARD KELLY

Press Representative Associate Producer Marketing Sponsorship

O&M CO. JENNY GERSTEN ALLIED LIVE, INC. ROSE POLIDORO

Associate Producers

ARIELLE TEPPER MADOVER DEBBIE BISNO/REBECCA GOLD CHRISTOPHER HARTAPPLES AND ORANGES TONY & RUTHE PONTURO JOSEPH TRAINA

Choreography by

KAROLE ARMITAGE

Directed by

DIANE PAULUS

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Digital Booklet - Hair