'Hair' is one of those shows that arrives with its own mythology. It’s peace signs, bare feet, harmony, protest, and the kind of hopeful rebellion that defined the late ’60s.
The Australian Shakespeare Company’s revival leans into that nostalgia, inviting the audience into a world of flower crowns and soft-focus idealism. Walking into the theatre feels like stepping into a gentle time warp, the crowd already in flares and daisy chains, ready to give themselves over.
There’s genuine warmth in this production. The pacing moves smoothly, and you can feel the cast’s camaraderie. When the ensemble sings together, there’s an undeniable sense of unity. The tribe works best as a collective, voices weaving together in ways that feel heartfelt.
Maverick Newman as Leonard brings easy humour throughout the show. He slips comfortably between bits, always with a sense of play. Zahrah Andrews, as Dionne, has a beautiful, bright voice that cuts through with clarity. Her tone adds depth to the ensemble sound whenever she steps forward. During 'I Got Life', though, the dynamics get a little lost. The volume swells so much at points that the emotional clarity underneath the song blurs, making it harder to sit inside the moment. The intention is there – it just needs more space to breathe.
Technical issues occasionally pull focus. Microphones cut in and out a few times, making it hard to stay inside some of the more intimate beats. During one high-intensity scene, the mic audio turns scratchy right at the emotional peak, taking some of the power out of the moment. These things happen, but they’re noticeable.
Alex Cooper’s Claude has a gentle sincerity. His 'Where Do I Go?' feels slightly tentative, as though he’s still finding the emotional peak, but the honesty in his delivery is clear. Elizabeth Brennan gives Sheila real warmth. Clay Darius’ Hud has an easy presence and a smooth voice. Rosie Meader brings sweetness to Jeannie, and Jackson McGovern’s Woof carries a likeable looseness.
Image © Ben Fon
Two performances really linger. Max Macdonald as Walter has that quiet magnetism where your attention drifts to him without effort. Giorgia Kennedy as Crissy sings with clarity and heart, her tone delicate but confident.
'Let The Sunshine In' remains a powerful closer. Even if you’ve heard it a thousand times outside of context, in this setting it carries weight. That final note of hope lands softly but deeply.
This revival feels full of love for the source material. The cast gives everything, and there’s a sense of people making something together because they truly care about it. Not every moment soars, but the heart behind it is unmistakable.
The lingering thought walking out is simply: why 'Hair' now? Maybe the answer is that the world still hasn’t found the peace the show longs for. Maybe the point is to remember that hope isn’t naive. It’s necessary. And sometimes revisiting an old dream is how we remember how to keep going.
This production believes in what it’s saying. And that belief comes through.
