The American Tribal Love-Rock Musical, "Hair," was a landmark production that captured the spirit of the late 1960s counterculture and the sexual revolution. Created by Gerome Ragni and James Rado, with music by Galt MacDermot, the musical reflected observations of hippie life, bohemianism in New York City, and the anti-Vietnam War sentiment. Its innovative approach included defining the "rock musical" genre, featuring a racially integrated cast, and encouraging audience participation. The show's themes of rebellion, draft resistance, and societal norms, combined with its candid depiction of sexuality and drug use, sparked controversy but also resonated deeply with a generation seeking change.

"Hair" debuted off-Broadway in 1967 before transferring to Broadway in 1968, where it achieved significant success, running for 1,750 performances. Its influence extended globally with numerous international productions and recordings, including a hit cast album. The musical's impact was further solidified by a feature film adaptation and a critically acclaimed Broadway revival in 2009. The creators drew inspiration from real-life individuals and events, aiming to translate the raw energy and excitement of the era's street culture onto the stage. The show's experimental theatrical techniques, influenced by avant-garde theater, contributed to its unique and enduring legacy.

The creation of "Hair" was deeply intertwined with the burgeoning counterculture of the 1960s. Authors Gerome Ragni and James Rado drew heavily from their experiences and observations of the hippie movement, the sexual revolution, and the widespread opposition to the Vietnam War. They sought to capture the vibrant, sometimes chaotic, energy of groups of young people living bohemian lives in New York City, particularly those who were actively resisting the military draft. The musical's themes of freedom, spiritual exploration, and societal defiance were central to its appeal. Rado and Ragni actively engaged with the communities that inspired the show, attending "Be-Ins" and letting their own hair grow, aiming to authentically represent this transformative period through their work.

"Hair" broke new ground in musical theater, not only by popularizing the "rock musical" genre but also through its embrace of experimental theatrical practices. Influenced by groups like The Open Theater, the creative team incorporated improvisational methods, non-traditional roles, and a fluid narrative structure. Actors often played multiple characters or shifted roles within scenes, mirroring the experimental techniques seen in plays like Megan Terry's "Viet Rock." The breaking of the "fourth wall" to engage directly with the audience was another key element, fostering a sense of communal experience. This innovative approach, guided by directors like Tom O'Horgan, emphasized spontaneity, sensory engagement, and a departure from conventional storytelling, creating a dynamic and immersive theatrical event.

At its core, "Hair" explored themes of revolution—both social and personal—and a nascent spiritual awakening often associated with the "Age of Aquarius." The narrative follows a group of young individuals grappling with the societal expectations of their conservative parents and the broader establishment, particularly concerning the Vietnam War draft. The musical presented a stark contrast between the characters' desires for freedom, love, and self-expression and the pressures of conformity and conflict. The controversial elements, such as depictions of drug use, sexuality, and anti-establishment sentiments, served to highlight the era's challenges to traditional norms. The show's ultimate message, particularly in its uplifting finale, suggested a path towards peace and universal understanding, reflecting a generation's hope for a more enlightened future.

“We were great friends. It was a passionate kind of relationship that we directed into creativity, into writing, into creating this piece. We put the drama between us on stage.”

“a combination of some characters we met in the streets, people we knew and our own imaginations.”

“There was so much excitement in the streets and the parks and the hippie areas, and we thought if we could transmit this excitement to the stage it would be wonderful. ... We hung out with them and went to their Be-Ins [and] let our hair grow.”

“It was very important historically, and if we hadn't written it, there'd not be any examples. You could read about it and see film clips, but you'd never experience it. We thought, 'This is happening in the streets', and we wanted to bring it to the stage.”

“The title was inspired by 'a painting of a tuft of hair by the Pop artist Jim Dine. Its title was Hair.'”