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Discussion in 'ASP .Net Web Controls' started by lizhou zhu, Jul 26, 2010.

  1. lizhou zhu

    lizhou zhu Guest

    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

    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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    lizhou zhu, Jul 26, 2010
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