Hair
Movie poster
Company dancers in excerpt filmed in Central Park.
Tharp (lifted) and dancers film in Central Park.
Company dancers film in Central Park.
Dancers perform “Hare Krishna” on location.
Wright flies during filming.
Smoke machines used during filming depleted the oxygen on set. Washington takes a break to recover.
Tharp performs “Hare Krishna.”
Tharp with film crew on the steps of the Lincoln Memorial.
Dancers perform “Three-Five-Zero-Zero” in front of the Lincoln Memorial Reflecting Pool.
Williams dances in “I Got Life.”
Tharp (back center) observes dancers on location.
Premiere
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Date
14 March 1979
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Company
United Artists
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Venue
Ziegfeld Theatre
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Location
New York, NY
Production
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Choreographer
Twyla Tharp
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Director
Miloš Forman
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Producers
Michael Butler,
Lester Persky
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Written by
Michael Weller
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Cinematographer
Miroslav Ondříček
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Composer and Arranger
Galt MacDermot
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Lyrics by
Gerome Ragni,
James Rado
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Costume Designer
Ann Roth
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Scenic Designer
George DeTitta
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Production Designer
Stuart Wurtzel
Awards
Cesar Award
Nominated:
Best Foreign Film
Golden Globe Award
Nominated:
Best Motion Picture – Musical/Comedy
New Star of the Year in a Motion Picture: Treat Williams
Dancers
Sara Rudner, Rose Marie Wright, Tom Rawe, Jennifer Way, Shelley Washington, Christine Uchida, Raymond Kurshals, Richard Colton, Anthony Ferro and Treat Williams
with
Pat Benoye, Cameron Burke, Richard Caceres, Tony Constantine, Ron Dunham, Leonard Feiner, Ken Gildin, Katie Glasner, Christian Holder, Chris Komar, Nancy Lefkowith, Joseph Lennon, Robert Levithan, France Mayotte, Hector Mercado, Sharon Miripolsky, Marta Renzi, Donna Ritchie, Ellen Saltonstall, Radha Sukhu, Byron Utley, Earlise Vails, Ronald Weeks, Kimmary Williams, Deborah Zalkind, Johanna Baer, Carolyn Brown, Colleen O’Callaghan, Susan Clark, Jennifer Douglas, Karen Mays, Megan Murphy, Vicki Lynn Powell, Anna Spelman, Lauralee Stapfer, Deborah Wagman, Warren Kliewer
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Number of Dancers
47
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Runtime
02:01:00
Description
Hair was Tharp’s first collaboration with director Miloš Forman. Shot almost entirely on location, Tharp used her previous experience with site-specific choreography to create cinematic dance numbers in the large spaces of Central Park and the steps of the Lincoln Memorial.
In a unique arrangement, Forman commissioned Tharp’s company as an entity, rather than choreographer and dancers independently. This agreement gave Tharp an uncommon degree of autonomy in the production that facilitated this very successful collaboration between director and choreographer.