Fifty years after Vietnam, CCM’s HAIR proves the message is more powerful than ever.
By Liz Eichler
University of Cincinnati’s College Conservatory of Music has given its future professionals an important piece of theatrical and civics education. HAIR captures the struggles and passions of young people during an era of profound unrest.
Beyond generational clashes, the ‘60s were marked by a deeper violation: young men were stripped of bodily autonomy, conscripted to fight in a war many did not believe in.
THE PLOT
The musical opens with Claude (Sam Yousuf) burning a card—presumably his draft card. His roommate, Burger (Franco Valerga), introduces himself, and we slowly meet other members of the “Tribe.” HAIR is light on plot by design, unfolding as a series of vignettes that explore the trials, tribulations, and attempts to escape reality experienced by young people during the Vietnam War and the draft.
At the center is Claude’s painful decision: should he report for military service, risking both physical harm and personal betrayal of his ethics? Subplots weave in Burger, Sheila (Hannah Ervin), and Jeanie (Maya Sharma), who is pregnant with another man’s child but longs for Claude’s love.
BACKGROUND
With book and lyrics by Gerome Ragni and James Rado and music by Galt MacDermot, HAIR opened on Broadway in 1968, striking a chord with audiences. Its popularity continued with the 1979 film adaptation (loosely based on the original) and multiple Broadway revivals.
THEMES
Like generations before–and after them–the youth of the 1960s rejected their parents’ values, creating their own styles of dress, language, and ideals. Youth culture has always been at the forefront of change. We’ve all even sung about it: “sticking a feather in your cap and calling it macaroni” in Yankee Doodle reflect the youthful fashions of the 1700s!
Sean Polk II shimmers as he sings “Aquarius,” a song that evokes a new age of love, humanity, and transformation. It suggests that while some cosmic forces are unchangeable, individuals must choose when to surrender to change and when to resist—whether by sitting back like a bus passenger or seizing the wheel.
PRODUCTION DESIGN
Fittingly, a flexible, rotating bus serves as the production’s centerpiece, functioning as a jungle gym, platform, and Claude’s family home. Stripping the Corbett Theatre to expose its wings is a bold choice, but the grand, modern metal back-stage architecture doesn’t achieve the grittiness that may have been the goal. Instead of brick, it sets an institutional tone. The textured and vibrant clothing also look freshly laundered. (It is only in production photos that one can note some of the distressing and weathering which disappear under stage lights.)
The live pit orchestra brings great energy to the score, but often overwhelms the singers, Burger and Shelia especially. So many in the audience, those who lived during the 60s and those born after, chattered about this during intermission. Hopefully, balance and vocal adjustments will smooth this out as the run continues—after all, this is a learning environment as much as a performance.
Directed by Vincent DeGeorge, the show moves at a brisk pace. The second act, especially, tightens beautifully as Claude’s looming choice grows more urgent as morning approaches. This is underlined using actual video footage from the War, grounding the import of Claude’s decision.
The Cast
CCM’s cast is full of phenomenal dancers and singers, thanks to choreography by Susan Reuter Moser and musical direction by Steve Goers. A standout performance comes from Tomi Newman as Woof. Her energy makes her one of the most like-able characters. Yousuf’s Claude is compelling throughout. Maya Sharma as Jeanie is also a character to connect with–and appreciate her vocal range.
There’s also Hannah Bourgeois, Erin Morton, Edin Kebede, Kristen Das and the very sassy Jordyn Jones–so many Tribe members have their moments to shine—it’s exciting to imagine what these young performers will do next season. “White Boys” and “What a Piece of Work is Man” are two stand outs, due to vocals and articulation. “Let the Sun Shine In” ends the show on a positive note.
Final Thoughts
While celebrating the resistance spirit of the 1960s, it’s worth noting that UC students in 2025 are no strangers to standing up for their beliefs. The campus has led their own protest movements recently and effected change. As we near the 50th anniversary of the Vietnam War’s end on April 30, it’s a good moment to thank a veteran for their service.
Tickets to HAIR
CCM’s HAIR runs through April 27. Tickets are available through the CCM Box Office.
Performance details:
Run time: Approximately 2 hours, with one 15-minute intermission.
The Company
- Claude | Sam Yousuf
- Berger | Franco Valerga
- Sheila | Hannah Ervin
- Hud | JT Langlas
- Woof | Tomi Newman
- Jeanie | Maya Sharma
- Dionne | Hannah Bourgeois
- Crissy | Lucy Acuna
- Aquarius Soloist | Sean Polk II
- Margaret Mead | Andy Bakun
Tribe: Andy Bakun, Brian Cheung, Kristen Das, Joshua Devine, Ellie Eisele, Jack Haroutunian, Jonathan Hobbs, Jayy Jones, Edin Kebede, Amelia Lamb, Chloe Lezotte, Carter Minor, Erin Morton, Coty Perno, Sean Polk II, Griffin Simmons
Swings: Maddie Belanoff, Maxwell Cohen, Elysa Matula, J Perry
Creative Team
- Director: Vincent DeGeorge
- Music Director: Steve Goers
- Choreographer/Intimacy Director: Susan Reuter Moser
- Dramaturge: Jenny Doctor
- Cultural Dramaturge: Torie Wiggins
- Fight Director: k. Jenny Jones
- Scenic Designer: Regan Densmore*
- Lighting Designer: Jules Cabrera*
- Costume and Wig/Makeup Designer: Maura Kesterson*
- Sound Designer: Kaitlin Barnett Proctor*
