Let the sunshine in with this new production of HAIR

There is no doubt that HAIR tore down more barriers and slammed open more doors than any other musical. Born from the days of young people battling with the horrendous images and stories from the Vietnam War, and the possibility that they would be drafted, HAIR looks at how some of them dealt with that, through drugs, protests and literally, letting their hair down.

HAIR first emblazoned its way into Broadway in 1968, with 22-year-old Diane Keaton in the original cast. She started in the ensemble and took over the role of Sheila a few months later.

Harry M. Miller watched the success of the groundbreaking show from afar, and despite having to win many battles with bureaucracy, over the profanity and nudity, he got his way and the show opened in Sydney in 1969. This production lured a young Marcia Hines to Australia from Boston in the US, and she was joined by other luminaries like John Waters (he played Claude)  and Reg Livermore (who played Berger).

HAIR also made it to the big screen, with the movie opening in 1979. Treat Williams was one of the big names in it – starring as Berger. The movie also starred Beverly D’Angelo.

The new production

On at the Theatre Royal, HAIR premiered on June 12 2026 and enjoyed a raucous, long, standing ovation. It is all that I expected with beads and denim and drugs and toe-tapping music. It is loud and proud, with the band – positioned at the back of the stage – brilliant. There are so many songs, and the iconic numbers did not disappoint. Hair, Aquarius, Good Morning Starshine, I Got Life and the final number – Let the Sunshine In, which reverberated around my head for days afterwards.

Many of the issues covered in HAIR back in the ’60s are still relevant today, from racism to war, with its messages of hope, freedom and acceptance received loud and clear.

I loved the interaction with the audience, which drew many laughs and banter. The whole cast brings an exuberance to the stage, but also execute a dramatic stillness when required.

The choreography is excellent, and I particularly love the slow-motion scene depicting a drug-addled haze. You get the feeling that this cast has become a ‘tribe’, gelling as one. As for the story, it is different to traditional musicals that tell a story with every song. It is more like separate conversations, moments and memories from the characters talking about their narrative in this 60s hippy, war-torn world.

The two male leads are very strong – Alex Cooper as Claude and Maxwell Simon as Berger. Cooper has many killer moments and nails the character’s vulnerabilities. Berger is the one who mostly interacts with the audience – hello Wendy in the front row – and has several funny moments. Maverick Newman shows off his amazing comedic abilities in his roles as Leonard and Iris, while I feel the abs of Linden Trescott (Apache) should have their own role. Trescott pops up all over, with his backflips and addictive smile always greeted with applause from an appreciative audience.

Likewise, Tane Williams-Accra (Hud) is a showstopper with his afro and his voice equally impressive.

Rosie Meader plays pregnant Jeanie with aplomb, and Elizabeth Brennan gives Sheila great depth and sense of urgency. Phoenix Jackson Mendoza (Tina) and Mariah Lewy (Chrissy) also shine.

Ahem…. there is nudity

It did come as a bit of a shock to some in the crowd when the cast appeared stark naked. For this reason, it is not recommended for kids under 16.

Ultimately, the Sydney production reminds us why HAIR became a landmark in musical theatre. It celebrates the enduring power of compassion, creativity and collective action while never losing sight of the joy found in music and human connection. Long after the final chorus of Let the Sunshine In fades, its invitation to imagine a kinder, freer world lingers in the mind, leaving audiences uplifted and inspired.

Production notes

HAIR The Tribal Love-Rock Musical is presented by Glenn Elston, Greg Hocking, the Australian Shakespeare Company in association with Trafalgar Entertainment.

The show is on at Sydney’s Theatre Royal until 12 July 2026.

The book and lyrics are by Gerome Ragini and James Rado

Music by Galt Macdermot

Choreography by Sue-Ellen Shook

The show runs for 2 hours 20 minutes and includes a 20-minute intermission.

Get your tickets here!