There is a particular kind of energy that fills the theatre before a show like HAIR The Tribal Love-Rock Musical. It is more than excitement; it is recognition. From the very first chord of Aquarius, the audience feels it. The room begins to move with anticipation, and by the time the tribe floods onto the stage, the space is alive with light and rhythm. This production does not just revisit the 1960s. It invites you to feel them. It asks you to step into a moment in time that still speaks to who we are today.
Produced by Glenn Elston OAM and Greg Hocking AM, and presented by the Australian Shakespeare Company, this 2025 revival bursts with colour, courage and connection. More than fifty years after it first shook audiences, the production reminds us that messages of peace, love and freedom are not relics of another era, they still speak powerfully to today’s world.
Glenn Elston’s direction feels grounded and generous. Rather than reshaping the story, he allows it to breathe. The production moves with ease between chaos and stillness, joy and vulnerability. It never feels distant or forced. Instead, it draws the audience close, creating a shared experience that feels personal and alive. You do not watch this show; you live it alongside the tribe. 
Alex Cooper brings a gentle strength to Claude, capturing the tension between youthful hope and responsibility with great care. His vocals are rich with feeling, and his stillness speaks as loudly as his song. Maxwell Simon is magnetic as Berger, bringing cheek and charisma while never losing sight of the truth beneath the humour. Together they find a beautiful balance between playfulness and heart.
Elizabeth Brennan commands the stage as Sheila, her voice full of passion and honesty. Clay Darius as Hud is vibrant, powerful and incredibly funny, with a voice that fills the theatre. Rosie Meader lights up the stage as Jeannie. She radiates warmth and humour while grounding her character with sincerity. Her presence feels like sunlight, a reflection of the joy that runs through the heart of this production.
Maverick Newman is a standout, delivering one of the most compelling performances of the night. His character work is sharp, layered and deeply human. Every moment he’s on stage feels purposeful, his physicality and timing anchoring the ensemble with both intensity and truth. He finds those small, surprising details that turn a performance into something memorable, and the audience feels it every time he steps into the light.
The strength of this production lies in its ensemble. The company moves as one heartbeat, shifting seamlessly from intimate storytelling to full-scale celebration. Sue-Ellen Shook’s choreography captures this spirit with authenticity. Her movement is fluid, earthy and human. Every performer has the space to express their individuality while remaining part of the collective story. The chemistry between cast members feels effortless. It’s a community built on trust, joy and shared purpose.
Visually, the production is stunning. Kaspa’s set design transforms the stage into a space that feels both real and dreamlike. It becomes a world of protest and hope, of laughter and reflection. Harrison Cope’s lighting design paints each scene with emotion, shifting effortlessly between colour and shadow. Costume designer Karla Erenbots completes the picture with beautifully crafted pieces that capture both the essence of the era and the individuality of each performer.
Musical Coordination by Paul Norton and Musical Direction and Arrangements by Colin Snape breathe new energy into Galt MacDermot’s legendary score. The live band feels like an extension of the tribe itself, pulsing with rhythm and emotion. Each song lands with clarity and power, reminding the audience why this music continues to speak to generation after generation. 
Behind the scenes, video designer Zac Krause and additional video content by Clay Jacobsen add subtle depth and context without ever overwhelming the live action. Their work weaves history and story together in a way that enriches the production’s emotional impact. Cast coach Hali Gabardi brings her own connection to the show’s legacy, guiding the company with wisdom and care. That influence can be felt in the grounded, open-hearted performances across the stage.
What is most moving about this production is the sense of connection. You can feel it in the cast’s energy, in the way they listen and respond to one another. It is clear that trust and kindness sit at the centre of this creative process. This company does not just perform this production, they embody it. They share the spirit of the show through every note and every glance, creating something that feels real and deeply human.
When the tribe lifts their voices for Let the Sun Shine In, the moment feels bigger than music. It becomes a celebration of hope, connection and the kind of light we all need a little more of. It feels both joyful and necessary. This story does not simply remind us of the past; it speaks to who we are now and asks us to imagine a more open and compassionate future.
Fifty years on, HAIR The Musical still beats with the rhythm of love, rebellion and unity that once changed the world. This production honours its legacy while reminding us why those voices, those dreams and that light still matter. It is a celebration of humanity, courage and the strength we find together.
HAIR The Musical is now playing in Melbourne at the Athenaeum Theatre, 188 Collins Street, from 25 October to 22 November 2025. For more information or to purchase tickets, visit www.hairthemusical.com.au.
