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Hair: Play Analysis

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The musical, Hair, contains minimal plot and character development within the text. However, other theatrical elements, like costumes, lighting, and blocking compensate for what the text may initially lack the production. For instances, blocking lends the opportunity to further establish characters within the play. Specifically, in TheaterUNI’s production of Hair, the blocking and blocking of the character Sheila helps to further illustrate her relationship with Claude and Berger, and her role as a leader in the hippie tribe. The blocking of Sheila, Claude, and Berger convey their relationship and develop Sheila’s character throughout the musical. During her first song, “I Believe in Love”, their relationship is established with the blocking. …show more content…

Prior to this scene, the blocking displays a new side to their relationship. Berger becomes angry with Sheila and smacks the cargo box she leans against, then storms offstage. In the script, however, this scene includes Claude as well. Excluding Claude from this scene, creates a focus on Sheila and Berger’s relationship, further developing their relationship instead of the threesome’s. In addition, the blocking of her song, “Easy to Be Hard”, develops her character and her response to her prior interaction. Using limited blocking during this scene increases the somber and reflective mood that the song evokes. Furthermore, Berger returning at the end of the song, pushing the shirt away and hugging her emphasizes the depth he cares for her. Implementing the resolve after the conflict in their relationship displays the strength, endurance of bond that they share. Overall, this scene develops Sheila’s character even further by highlighting the struggles in Sheila’s relationship with Berger, how she copes with it, and their resolution of the …show more content…

Beginning with her first entrance, she was introduced separately from the rest of the tribe. Specifically, in the production, she enters from the audience after the rest of the tribe is onstage. Thus, this establishes her as someone who is of greater importance in the plot. Her separation from the group continues after her song, “I Believe in Love”, by leading a chant, presenting her as a leader. The rest of the tribe focuses in on her. As a result of the tribes blocking, they further establish her as someone of importance. This theme persists in the second act. Sheila climbs to the top of a crate, emphasizing her as the focal point in the scene. While on the crate, she reminds the tribe of a protest, “tomorrow morning, at dawn, we will take our heads down to the U.S. Army induction center for an Exorcism of the Khaki” (CITE 81). In combination with the dialogue, the blocking suggests that Sheila’s role in the tribe is a leader and organizer of protests. Thus, the blocking throughout the musical emphasizes Sheila as a leader in the

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