In 1969, Hair, the American Tribal Love-Rock Musical, arrived in Australia like a gust of rebellious wind, blowing apart the conservative cobwebs that had long clung to the nation’s theater scene. Sydney's Metro Theatre in Kings Cross became the epicenter of this revolution, attracting audiences equal parts courageous and curious, braving the seedy reputation of the area to witness a performance that promised to challenge everything they knew about theater, culture, and morality.
Kings Cross then was not the polished, bustling hub we know today. American soldiers on R&R from Vietnam roamed its streets, often accompanied by whispers of drug use. For many, venturing to the Metro Theatre felt like stepping into uncharted territory. And what awaited them inside was a show that, much like the neighborhood, dared to defy convention.
A Defiant Arrival
As Hair made its way from Broadway to London’s West End, its reputation as a counterculture anthem preceded it. Its liberal use of language, its psychedelic vignettes, and, most infamously, its nude scene caused outrage among censors worldwide.
Australia, with its conservative state governments and strict censorship laws, was no exception. Legendary producer Harry M. Miller knew he was courting controversy by bringing Hair to Sydney. NSW’s Chief Secretary Eric Willis publicly debated whether the show should even be allowed to open. Miller, however, saw opportunity in the uproar. “No sane person could possibly find offence in Hair,” he declared, cleverly comparing its nudity to the works of Botticelli and Michelangelo.
Miller’s calculated gamble paid off. Despite initial resistance, Hair premiered in Sydney, bypassing censorship and ushering in a new era of artistic freedom. Even Willis, though critical of its morality, admitted, “It is cleverly presented and quite revolutionary as a form of theater.”
Youthful Energy and Counterculture
Directed by the 24-year-old Jim Sharman, Hair brought together a vibrant cast of young performers who embodied the counterculture it celebrated. Many were barely out of their teens, and their raw energy electrified the stage.
The cast’s inexperience brought an authenticity that resonated with audiences, even as it frustrated some theater veterans. Miller eventually enlisted seasoned performers like Reg Livermore to bring structure, but even they were swept up in the cast’s unbridled enthusiasm. (Reg Livermore attended the same secondary school in Sydney that I attended, although he was 13 years my senior).
A Catalyst for Change
Beyond its groundbreaking performance style, Hair was a cultural catalyst. Its exploration of war, sexuality, and freedom mirrored the growing anti-Vietnam War sentiment in Australia. It also served as a rallying cry against censorship, paving the way for a more liberated theater scene.
The musical’s impact extended beyond the stage. It inspired a wave of Australian theater, giving rise to local companies like Sydney’s Nimrod Theatre and Melbourne’s Pram Factory. Its loose narrative structure encouraged creators to think beyond traditional storytelling, focusing instead on meaning and experience.
A Lasting Legacy
While the idealistic Age of Aquarius never fully dawned, the influence of Hair reverberated through Australian theater for decades. It laid the groundwork for bold productions like Jesus Christ Superstar and The Rocky Horror Show, proving that theater could be a space for experimentation and cultural commentary.
As director Julian Meyrick noted, Hair released something profound in both audiences and practitioners. It broke the rules, and in doing so, it redefined what Australian theater could be.
For those who braved the streets of Kings Cross to see Hair in 1969,
It wasn’t just a musical. It was a revolution.
Rick’s Commentary
I was a first-year veterinary student in 1969. Fresh out of an all-boys high school, I discovered that there was another gender on the planet, that a sports car was a possibility, and that there was a university rugby club. Scholarship took a distant fourth place behind all these discoveries …
In 1969, Australia was experiencing significant social, cultural, and political changes, influenced by both domestic developments and global events.
Australia’s involvement in the Vietnam War was at its peak, with thousands of Australian troops deployed as part of the conflict. Conscription was highly controversial, leading to widespread protests and anti-war movements, particularly among the youth. The Vietnam Moratorium Campaign began to gain traction, uniting Australians against the war and government policies.
On July 21, 1969, Australians, like much of the world, were captivated by the Apollo 11 moon landing. Lectures were suspended for the day as we all watched the event on television. The Parkes Observatory in New South Wales played a pivotal role in broadcasting the live images of Neil Armstrong’s historic first steps on the moon to the world.
The global counterculture movement, including the rise of hippie ideals, music, and fashion, resonated strongly with Australian youth. Music festivals, like Australia's first major outdoor rock festival, the Pilgrimage for Pop in Ourimbah, began to emerge.
The 1967 referendum, which gave the Australian government the power to make laws for Aboriginal people and include them in the census, had recently passed. Activism for land rights and equality continued to grow, with Aboriginal leaders advocating for systemic changes and recognition.
Television was becoming the dominant medium for news and entertainment in Australian homes, further connecting the country to global events like the moon landing and the Vietnam War. Advances in transportation and communication began to make Australia more accessible to the world, facilitating cultural exchange.
The Women’s Liberation Movement was gaining momentum, challenging traditional gender roles and advocating for workplace equality, reproductive rights, and an end to gender-based discrimination. The sexual revolution, spurred by changing societal attitudes and the introduction of the contraceptive pill in the 1960s, continued to reshape Australian norms.
The dismantling of the White Australia Policy continued through legislative changes, leading to increased immigration from non-European countries, especially Asia. This was a period of gradual but significant cultural diversification in Australian society.
The arrival of Hair the musical in Sydney in 1969 was emblematic of these shifts, challenging conservative societal norms and censorship laws. With such changes occurring in the world, and at the age of 17 years, it was not surprising that I failed my first year of veterinary school, necessitating a restart in 1970!
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