ABSTRACT
This chapter focuses on male-identifying members of the Tribe in Hair. It analyses both the score and text of four key characters; Claude, Woof, Hud, and Berger, considering these characters in the context of the sixties. The chapter builds on the premise that attitudes towards masculinity changed when marginalised groups – whose historic suppression allowed men to build secure identities – began to rebel. Using Connell's theory of masculinity as a framework to situate the analysis, the chapter proposes that Hair's treatment of its male-identifying characters was less conservative than those previously presented on the Broadway stage; it discusses the ways in which each male character communicates some of the societal expectations placed upon men during this era, and subsequently how they respond to and navigate such expectations.
