The New Broadway Cast Recording

The American Tribal Love-Rock Musical

Book and Lyrics by

GEROME RAGNI and JAMES RADO

Music by
GALT M AC DERMOT

AQUARIUS
Sasha Allen (center) and the Tribe

THE CAST (in order of appearance):

Sasha Allen

Dionne:
Berger:
Woof:
Hud:

2. Donna (Berger and Tribe)

Will Swenson

3. Hashish (Tribe)
4. Sodomy (Woof and Tribe)

Darius Nichols

5. Colored Spade (Hud and Tribe)

Claude:

Gavin Creel

Sheila:

Caissie Levy

Jeanie:

Kacie Sheik

Crissy:

Allison Case

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)

Mother/Buddhadalirama:
Dad/Margaret Mead:

Megan Lawrence

Andrew Kober

Theo Stockman

Abraham Lincoln:

TRACK LIST

1. Aquarius (Dionne and Tribe)

Bryce Ryness

Hubert:

ACT 1

Saycon Sengbloh

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
tribe members:

THE BAND:
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
Music Director/Conductor/Keyboard:

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 2
22. 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)

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

HAIR, THE PUBLIC AND THE PEOPLE

OSKAR 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 parks
of 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, A
Chorus Line, For Colored Girls..., Bring In Da Noise/Bring In Da Funk, Caroline (Or
Change), Passing Strange). By the time it closed on Broadway in 1972, its music had
become 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 country
might 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, with
enough 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 HISTORY
HAIR 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 by
Anna Sokolow.
It moved to the club Cheetah on 52nd Street on December 12th, 1967 where it played
for an additional 45 performances, closing there on January 28th, 1968.
Under the auspices of Michael Butler, the show, now directed by Tom OHorgan
and choreographed by Julie Arenal, began performances at the Biltmore Theatre on
April 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 auspices
of the Joseph Papp Public Theater (Oskar Eustis, Artistic Director) at the Delacorte
Theater in Central Park under the direction of Diane Paulus with choreography by
Karole Armitage on September 22nd-24th, 2007.
On July 22nd, 2008, a full production, again under the direction of Ms. Paulus and
with choreography by Ms. Armitage, opened at the Delacorte Theater and played
45 performances closing on September 14th, 2008.
This production transferred to the Al Hirschfeld Theatre on March 6th, 2009 with
the official opening on March 31st.

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

TIME TO LET THE SUN SHINE IN: HAIR 2009

By Diane Paulus
In March 2007, I got a call from the Public Theater:We are thinking about doing a
revival of the musical HAIR.Would you be interested in directing this?I almost dropped
the telephone.I am a HAIR fanatic, I responded.I know all the words to every song
by heart this would be a dream come true.I did know all the music by heart.I grew up
listening 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 premiere
at the Ziegfield Theater in Manhattan.But I had never seen the stage show.Can you
send 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 hand
store. 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 Broadway
production of HAIR that opened in April 1968. I was amazed at how different the
two 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 the
next 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 been
working 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 Broadway
revival of HAIR that opened at the Al Hirschfeld Theater on March 31, 2009.Gerome
Ragni passed away in 1991, but with the blessing of Gerrys son, Erick Ragni, Jim and I
poured over all the versions of the book of HAIR, carefully crafting a version of the show
that we felt would best work for this revival.We cut a lot of text, allowing the songs to
flow more swiftly, but we also put lines back in the script from the Off-Broadway script
that 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 at
the Be-In We are fighting a war.Use atomic weapons and win it, for Crissake.Have
faith 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 stakes
of what it meant to burn your draft card?In response to Huds line Were all Vietnam
bait, Dionne now says Not if you burn your draft card, and the Tribe men respond
Yeah, and go to prison.Five years hard labor!-- which was the law, passed in the fall
of 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 who
is deeply conflicted about what it means to be an American.He knows it is wrong to
kill and, like many young men facing the reality of going to war, does not want to
die.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 enlightenment
through drugs, even giving him Sheila, the woman he professes to love.In the end, they
cannot save him.In the final scene when the Tribe is protesting outside the US Army
Induction Center, Claude appears in full military regalia, and tells Berger with almost
a 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 through
the 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 at
the Delacorte Theater in Central Park in September 2007.I told Oskar Eustis that even
for this concert, the casting had to be right.We spent months in auditions, unearthing
candidates 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.But
even with the singing, it was not about technical proficiency or experience.Galt would
often 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 about
the issues in this show from the core of their being.The Tribe we put together for this
concert at the Delacorte has journeyed from Central Park to Broadway. They have
grown and bonded over the years of being together, but most importantly they continue
to open their hearts to every audience at the Hirschfeld, on a mission to deliver the
message of this show with utter commitment and conviction with every performance.

One of the original cast members from the 1968 Broadway production came to see
our concert in 2007.She told us that for years, she was unable to see any production
of HAIR. It was just too intense to revisit the experience, she explained. When
they were doing the show in 68 during the height of the Vietnam war, they would
exit the stage door and be confronted by young men from the audience who would
ask 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 told
us 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 in
the summer of 2008 as a full production. At that time we were nearing the end of the
Bush administration, and the audience in the park was full of people of all ages that saw
in the show the outcry for change that was sweeping the nation. Under the stars and the
moon of Central Park, the age of Aquarius was reborn night after night. Flying on the
critical and popular enthusiasm from that production, it was decided to move the show
to Broadway, and so for the third time in as many years, we reconceived the show - this
time for a large Broadway house.Between September 2008 and January 2009 something
else had changed as well. Instead of the dark days of a Presidentialadministrationthat
hadthe 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 Obama
administration. What five months earlier in the Park had been an outdoor experience that
had tracked the nations anxious cry for change somehow needed to become an indoor
hippie happening that celebrated hope for the future while still honoring the past. On
March 31st, after four weeks of previews, a new HAIR opened again on Broadway to a
critical 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 with
long hair and hippie clothes cavorting on a Broadway stage, or to see them without their
clothes 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 that
they refused to quietly accept a vision of their nation that they did not believe in.They
believed they could change the world, and make it a better place.Forty two years later,
this message is finally coming back to life.

Kacie Sheik

Allison Case

L to R: Caissie Levy and Gavin Creel

Andrew Kober (left), Will Swenson and the Tribe

Bryce Ryness

Darius Nichols

Saycon Sengbloh

Megan Lawrence

Theo Stockman

going down
Will Swenson (center) and the Tribe

dont put it down

L to R: Tommar Wilson, Will Swenson, Bryce Ryness

Recorded April 6th 2009 at Legacy Studios, NYC

Produced for Records by Joel Moss and Kurt Deutsch
Album Executive Producer: Bill Rosenfield
Associate Album Producers: Noah Cornman and Steve Norman
Recorded, Engineered and Edited by Joel Moss
Assistant Engineer and Additional Editing: David Herman
Assistant Engineers (Legacy): Ian Kagey, Derek Lee, Ryan Kelly
Pro-Tools Operator: Angie Teo
Cue Mixer: Chris Jennings
Music Coordinator: Seymour Red Press
Additional Recording by John Kilgore at John Kilgore Sound
Mastered by Scott Hull at Scott Hull Mastering
Production 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 H
Productions. Rights Assigned to EMI CATALOGUE PARTNERSHIP
All 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 Talley

Production Photography: Joan Marcus
Digipack interior image courtesy of Scott Pask
General Management: Joey Parnes
John Johnson / S. D. Wagner
Management Associate: Maddie Felix
Company Managers: Kim Sellon, Leslie Glassburn, Kit Ingui
Production Stage Manager: Nancy Harrington
Stage Managers: Julie Baldauff, Elizabeth Miller
Show Press Representative: O&M Co.
Rick Miramontez/Molly Barnett/Philip Carrubba/Elizabeth Wagner
For the Public Theater:
Artistic Director: Oskar Eustis
Executive Director: Andrew D. Hamingson
Associate Producer: Jenny Gersten
Director of Communications: Candi Adams
Director 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.com
www.haironbroadway.com

THE PUBLIC THEATER

Oskar Eustis, Artistic Director Andrew D. Hamingson, Executive Director
JEFFREY RICHARDS JERRY FRANKEL
GARY GODDARD ENTERTAINmENT KATHLEEN K. JOHNSON NEDERLANDER PRODUCTIONS, INC.
FRAN KIRmSER PRODUCTIONS/JED BERNSTEIN mARC FRANKEL BROADwAY ACROSS AmERICA
BARBARA mANOCHERIAN/wENCARLAR PRODUCTIONS JK PRODUCTIONS/TERRY SCHNUCK
ANDY SANDBERG JAm THEATRICALS THE wEINSTEIN COmPANY/NORTON HERRICK
JUJAmCYN THEATERS
JOEY PARNES Executive Producer
by special arrangement with

ELIZABETH IRELAND mcCANN

present

The American Tribal Love-Rock musical

Book & Lyrics by

music by

GEROmE RAGNI & JAmES RADO

GALT macDERmOT
with

SASHA ALLEN ALLISON CASE GAVIN CREEL CAISSIE LEVY

DARIUS NICHOLS BRYCE RYNESS KACIE SHEIK wILL SwENSON
and

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

SCOTT PASK
Orchestrations
Casting

NADIA DIGIALLONARDO

JORDAN THALER & HEIDI GRIFFITHS

Press Representative

Sound Design

KEVIN ADAmS

music Director

GALT macDERmOT

O&m CO.

Lighting Design

mICHAEL mcDONALD

ACmE SOUND PARTNERS

Production Stage manager

NANCY HARRINGTON

Associate Producer

music Coordinator

SEYmOUR RED PRESS

wig Design

GERARD KELLY

marketing

JENNY GERSTEN

ALLIED LIVE, INC.

Sponsorship

ROSE POLIDORO

Associate Producers

ARIELLE TEPPER mADOVER DEBBIE BISNO/REBECCA GOLD CHRISTOPHER HART

APPLES AND ORANGES TONY & RUTHE PONTURO JOSEPH TRAINA
Choreography by

KAROLE ARmITAGE
Directed by

DIANE PAULUS
ORIGINALLY PRODUCED IN 1967 AND SUBSEqUENTLY REVIVED IN 2008 BY THE PUBLIC THEATER
THE PRODUCERS wISH TO ExPRESS THEIR APPRECIATION TO THEATRE DEVELOPmENT FUND FOR ITS SUPPORT OF THIS PRODUCTION.

final version, (sent collected & hi-res Pdf, 2-18-09, 4:50PM)