Kokandy Productions has launched a new rendition of the rock musical “Hair,” directed by Brennan Urbi, that reinterprets the iconic 1968 work through a contemporary lens reflecting Generation Z sensibilities. The production, which opened recently, emphasizes the show’s spirit of protest while engaging with current social and political issues.

Urbi and his cast approach “Hair” with a palpable sense of urgency and skepticism, diverging from the idealism and optimism traditionally associated with the original. The themes of anger, injustice, and despair resonate strongly throughout the performance, while the expressions of love and harmony appear more subdued and less convincing. The production frames itself explicitly as a form of protest rather than mere theatrical entertainment, with visible signage and a tie-dyed banner displayed prominently to reinforce this message.

Visually and thematically, the show incorporates elements rooted in today’s sociopolitical climate. Eleanor Kahn’s set design features wooden risers and walls covered in graffiti-style slogans referencing contemporary topics including former President Donald Trump, the Israeli-Palestinian conflict, U.S. Immigration and Customs Enforcement (ICE), and artificial intelligence. Audience members are invited to contribute to the graffiti during intermission, fostering an interactive dimension to the protest theme.

Costuming updates reflect current notions of gender nonconformity and fluidity, with flowing garments worn by all genders and an absence of traditional 1960s hippie attire. Notable cast performances include Zac Richey as Berger, who interprets the character with a jittery, abrasive edge broadening the role’s rebellious essence, and Gavin Rhys as Claude, whose detached demeanor accompanies his internal conflict over the draft card—a central narrative element. Catherine Rodriguez O’Connor, portraying Sheila, delivers a polished vocal performance and serves as a grounding force within the ensemble’s dynamic.

Musical direction by Kara Olander supports a confident and robust delivery of Gerome Ragni, James Rado, and Galt MacDermot’s original score, featuring well-known numbers such as “Age of Aquarius,” “Good Morning Starshine,” and the titular “Hair.” Nevertheless, the production’s tone frequently prioritizes earnestness and intensity over the humor, levity, and spontaneity that were hallmark features of the source material. This tonal shift is particularly evident in the omission of nudity—a provocative element in past productions—replaced here by a more cautious performance style that aligns with contemporary norms around consent and personal boundaries.

While the show succeeds in highlighting “Hair”’s ongoing relevance, especially during a potent, dreamlike second act depicting various scenes of imperial destruction, some aspects of the staging and characterization introduce complexity that may obscure the production’s core messages. Certain choices, such as the abstract delivery of “Frank Mills,” have been noted as potentially confusing.

Overall, this reinvention of “Hair” offers a serious, contemplative exploration of protest through a modern perspective, even as it sacrifices some of the original’s warmth and comedic spirit. As the cast closes with the final number “Let the Sunshine In,” the mood remains reflective and guarded, signaling a departure from the unrestrained optimism once emblematic of the musical.