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GHD Limited Edition IV Pure Styler

 
 
lizhou zhu
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      07-26-2010
Off-Broadway productions

The creators pitched the show to Broadway producers and received many
rejections. Eventually Joe Papp, who ran the New York Shakespeare
Festival, decided he wanted Hair to open the new Public Theater (still
under construction) in New York City's East Village. The musical was
Papp's first non-Shakespeare offering.[4] The production did not go
smoothly: "The rehearsal and casting process was confused, the
material itself incomprehensible to many of the theater’s staff. The
director, Gerald Freedman, the theater's associate artistic director,
withdrew in frustration during the final week of rehearsals and
offered his resignation. Papp accepted it, and the choreographer Anna
Sokolow took over the show.... After a disastrous final dress
rehearsal, Papp wired Mr. Freedman in Washington, where he'd fled:
'Please come back.' Mr. Freedman did."[15]

Hair premiered off-Broadway at the Public on October 17, 1967 and ran
for a limited engagement of six weeks. The lead roles were played by
Walker Daniels as Claude, Ragni as Berger, Jill O'Hara as Sheila,
Steve Dean as Woof, Arnold Wilkerson as Hud, Sally Eaton as Jeanie and
Shelley Plimpton as Crissy.[16] Set design was by Ming Cho Lee,
costume design by Theoni Aldredge, and although Anna Sokolow began
rehearsals as choreographer, Freedman received choreographer credit.
[17] Although the production had a "tepid critical reception", it was
popular with audiences.[15]

Chicago businessman Michael Butler was planning to run for the U.S.
Senate on an anti-war platform. After seeing an ad for Hair in The New
York Times that led him to believe the show was about Native
Americans, he watched the Public's production several times and
decided to purchase the rights and move it to Broadway.[8] Papp and
Butler first moved the show to The Cheetah, a discothèque at 53rd
Street and Broadway. It opened there on December 22, 1967[18] and ran
for 45 performances.[2] There was no nudity in either the Public
Theater or Cheetah production.[1]
[edit] Revision for Broadway

Before the move to Broadway, the creative team hired director Tom
O'Horgan, who had built a reputation directing experimental theater at
the La MaMa Experimental Theatre Club. He had been the authors' first
choice to direct the Public Theater production, but he was in Europe
at the time.[19] Newsweek described O'Horgan's directing style as
"sensual, savage, and thoroughly musical... [he] disintegrates verbal
structure and often breaks up and distributes narrative and even
character among different actors.... He enjoys sensory
bombardment."[20]

Hair underwent a thorough overhaul between its closing at the Cheetah
in January 1968 and its Broadway opening three months later. The Off-
Broadway book, already light on plot, was loosened even further, and
13 new songs were added.[21] The song "Let the Sun Shine In" was added
so that the ending would be more uplifting.[7] In rehearsals, O'Horgan
used techniques passed down by Viola Spolin and Paul Sills involving
role playing and improvisational "games". Many of the improvisations
tried during this process were incorporated into the Broadway script.
[22] O'Horgan and new choreographer Julie Arenal encouraged freedom
and spontaneity in their actors, introducing "an organic, expansive
style of staging" that had never been seen before on Broadway.[4] The
inspiration to include nudity came when the authors saw an anti-war
demonstration in Central Park where two men stripped naked as an
expression of defiance and freedom, and they decided to incorporate
the idea into the show.[4] O'Horgan had used nudity in many of the
plays he directed, and he helped integrate the idea into the fabric of
the show.[2]

Papp declined to pursue a Broadway production, and so Butler produced
the show himself. For a time it seemed that Butler would be unable to
secure a Broadway theater, as the Shuberts, Nederlanders and other
theater owners deemed the material too controversial. However, he
pulled some political strings through family connections and convinced
theater owner David Cogan to make the Biltmore Theatre available.[23]
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