Program Guide - Miami University School of Fine Arts

MIAMI UNIVERSITY DEPARTMENT OF THEATRE presents
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Hair
Book and Lyrics by Gerome Ragni & James Rado
Music by Galt MacDermot
Directed by Bekka Eaton
Jack Liles, Musical Director
Tamara L. Honesty, Scenic Designer
Lin Conaway, Costume Designer
assisted by Trisha Hoffman
Jay Rozema, Lighting & Sound Designer
Jessica Basista & Robert Deason, Make-up Designers
Stacy Gear-Schindel, Choreographer
Steven R. Pauna, Technical Director
Kathleen Petroziello, Stage Manager
Produced by special arrangement with, and the music and dialogue
material furnished by TAMS-WITMARK MUSIC LIBRARY, INC., 560
Lexington Avenue, New York, NY 10022

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(What’s So Funny ‘Bout)Peace, Love
And Understanding Lyrics
written by Nick Lowe
As I walk through
This wicked world
Searchin’ for light in the darkness of
insanity.
I ask myself
Is all hope lost?
Is there only pain and hatred, and misery?
And each time I feel like this inside,
There’s one thing I wanna know:
What’s so funny ‘bout peace love &
understanding? Ohhhh
What’s so funny ‘bout peace love &
understanding?
And as I walked on
Through troubled times
My spirit gets so downhearted sometimes
So where are the strong
And who are the trusted?
And where is the harmony?
Sweet harmony.
‘Cause each time I feel it slippin’ away, just
makes me wanna cry.
What’s so funny ‘bout peace love &
understanding? Ohhhh
What’s so funny ‘bout peace love &
understanding?
So where are the strong?
And who are the trusted?
And where is the harmony?
Sweet harmony.
‘Cause each time I feel it slippin’ away,
just makes me wanna cry.
What’s so funny ‘bout peace love &
understanding? Ohhhh
What’s so funny ‘bout peace love &
understanding? Ohhhh
What’s so funny ‘bout peace love &
understanding?
A SPECIAL THANKS to
Ann Elizabeth Armstrong for overseeing the content and organization of the
dramaturgy for this Program Guide
Performance Guide Editor
Lisa A. Campbell
Dramaturgy
Amy Foster
Dr. Jeffrey Kimball
Jene Shaw
THEATRE ETIQUETTE
• Please turn off all cell phones and pagers.
• The taking of photographs or use of recording devices is strictly prohibited.
• If you have candy to unwrap, kindly do so now.
• Please note the closest exit in case of an emergency.
• Smoking is not permitted in the Center for Performing Arts.
• Please discard all food and drinks before entering the theatre.
• As a courtesy to the audience and performers, all latecomers will not be seated
until an appropriate break in the performance.
SPECIAL EVENT
Please join us for an Opening Night reception, immediately following the
show on November 18, in the Gates-Abegglen Theatre Lobby.

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Performance Guide CONTENTS
Director’s Notes 4
The Vietnam War 5
Suggested Readings 7
Synopsis/Musical Numbers 8
Who’s Who in the Company 9
Beware of Rules: A Look at the 60’s 13
Designers Notes 15
Company Credits 16

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DIRECTOR’S NOTES
Youth has its own system of sifting through the noise of life to reveal some neglected truths. Youth will rise
to find itself and express that unique self…and this is the enduring strength of Hair. Throughout the history
of mankind, it has taken an immense amount of courage to point out the inconsistencies and hypocrisies of
each age—and courageous young people so often are on the front lines of that call-to-courage, both figuratively
and literally. Upon receiving the assignment of directing Hair, I wondered how I might be able to impart these
notions of truth and courage to a cast of college kids assembled in 2004. I feel a bit embarrassed about my
concerns as I write this today.
I am both astonished and humbled at the passion and care with which this cast has approached this play. They
have managed to take on the causes and concerns of the late sixties with compassion and a deep desire to “get
it right.” Further, they have made their own connections between the very specific issues of the late sixties and
those in their own lives; Vietnam and Iraq, relationships with parents—when world-views collide, consumerism,
stereotyping, censorship, sex pre-AIDS and post-AIDS, race relations—both hidden and overtly ugly prejudices,
the power and toxicity of language, the status of women at home and in society at large, leadership and being
lead, and the funky little big issue – freedom: what is it really, and what does it cost? We have posited the idea
throughout our rehearsal process that maybe—just maybe—what could fix a lot of these and other ill’s of society is
a whole lot more peace, love and understanding.
Why are these three concepts so often dismissed as nice, but ultimately ineffective and unrealistic remedies?
Does it seem too simple? What is simple about loving one’s enemies? About giving up blood-won territory to
accomplish peace? About striving to understand the motivations of someone whose actions seem abhorrent to
us? Yet are our customary alternative measures working? It takes a massive amount of courage and will to live
by a credo embracing peace, love and understanding.
John Lennon said, “War is over if you want it.” It’s just that simple. Children and young people know this
intuitively. Thank God for them. Maybe our younger generation can fix some of the mess we’ve left them with.
In any case, I’m proud to be the director of this lovely batch of young folk and proud for my part in presenting
to you this evening a vision of the American Dream that has nothing to do with picket fences, college educations
and bank accounts, but rather the soul of America.
DIRECTOR’S BIO
Bekka Eaton (Director) teaches and directs theatre at Miami-Hamilton. Most recently, she directed Miami University
Hamilton Theatre’s productions of The Fantastiks and Summertree. Bekka is also a professional actor. After living lots of
other places for over 20 years, she once again calls Fairfield, Ohio home. Her acting history includes stage, television, and
film credits. She began her professional career as a resident company member in Chicago’s famed The Second City. Then
she enjoyed a long stage career as a performance artist, artistic director, and writer. Bekka also has logged over 2000 hours
in recording studios as both a singer and producer. Bekka wishes to thank her family, without whom a career in theatre
would be impossible – especially Jorni whose mama keeps crazy hours.

THE VIETNAM WAR: CONTEXT AND SIGNIFICANCE BY JEFFREY KIMBALL, PH. D.
The creation, staging, and Broadway run of the countercultural, antiwar, rock musical Hair from 1965 to 1972 spanned the
period that most Americans remember as the time of America’s war in the tropical jungles and rice paddies of Vietnam.
These years, however, encompass only the peak period of fighting and dying by Americans, their allies, and the Indochinese
people. America’s involvement in what we in the United States commonly know as the Vietnam War actually began
twenty years before 1965 and finally ended almost three years after 1972. The appellation “Vietnam War” can be thought
of as either the generic name for the sum of two wars or as the name of one war with two major phases, with a brief
hiatus between them: the “First Indochina War” (1946 - 1954) and the “Second Indochina War” (circa 1957 - 1975). The
Vietnamese remember these as the “French War” and the “American War.”
This thirty-year conflict embroiled not only the prime combatants – Vietnam, France, and the United States – but also
Laos, Cambodia, the Soviet Union, China, and allies and clients in both Cold War blocs. It was rooted in Vietnamese
resistance to Western and Japanese imperialism, the global struggle between capitalism and Communism, the Cold War,
and social, political, and economic developments within the belligerent nations themselves. In the worldview of American
policymakers, the Vietnam War was the symbolic centerpiece of their effort to maintain their credibility as guarantors of
client regimes against revolutionary upheaval in the “Third World,” which they publicly justified as “fighting aggression.”
The way in which the United States became entangled in the conflict stands to this day as the prime historical example of
a “quicksand war.” With each step that U.S. administrations took by committing money, troops, or prestige to win the war
or to avoid defeat, the American nation walked more deeply into a quagmire of escalating conflict, from which escape with
honor became increasingly difficult.
The acquiescence of President Harry S. Truman’s administration (1945 - 1950) in the return of French forces to Vietnam in
1945 – after the Japanese had displaced them in 1941 – soon evolved into an American-supported war between colonial
France and the Vietminh, an indigenous, nationalist, Communist-led movement for independence and modernization.
Considering the high level of American aid to French forces after 1950, France fought, in effect, a proxy war on behalf of the
United States.
At the Geneva Conference in 1954, France, exhausted by the war, and the Vietminh, pressured by the Soviet Union and
China to compromise, concluded an internationally sanctioned agreement that provided for a cease-fire, the withdrawal of
French forces from Indochina, the temporary division of Vietnam into North and South, and a national reunification election
in 1956. Unhappy with the settlement, the administration of President Dwight D. Eisenhower (1953 - 1960) installed Ngo
Dinh Diem as America’s strongman in Saigon. Eisenhower supplied Diem with crucial economic support, civilian and
military advisers, and diplomatic backing in an effort to preserve the southern half of Vietnam as an anti-Communist bastion.
But fighting in the South between Diem’s U.S.-supported army and the Hanoi-supported southern National Liberation Front
(aka “Vietcong”) grew in intensity after Diem refused to participate in the 1956 election and then set about arresting and
executing his political opponents.
As the Vietcong’s political and military strength grew, President John F. Kennedy (1961 - 1963), like Eisenhower before him,
took steps to shore up Diem’s government. To this end, he increased the number of American military advisers from 950 to
16,000 over the course of three years. Many of these “advisers” were killed or wounded while bombing targets from the air
or patrolling on the ground.
Up to this point, most Americans had taken little notice of their government’s involvement in the Indochina conflict. The
American role in Vietnam was mainly of interest to a relatively small group of policymakers, lobbyists for President Diem,
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and a few journalists and novelists. Among the latter was Graham Greene, author of The Quiet American (1955), and
William J. Lederer and Eugene Burdick, authors of The Ugly American (1958). By 1963, however, the sharp rise in casualties
among U.S. advisers fighting rebel guerrillas in the countryside and the dramatic protests of Buddhists in the cities against
Diem’s religious oppression had captured the attention of the American press and public and opened rifts in the national
consensus supporting U.S. foreign policy. Small groups of young and old antiwar activists, authors, Indochina experts, and
others spoke out against the war. Antiwar “doves” and pro-war “hawks” increasingly quarreled about the causes of the
conflict, the wisdom of fighting, and the morality and effectiveness of the manner in which their government was conducting
the war.
In early November 1963, South Vietnamese army generals assassinated Diem during a U.S.-sanctioned coup. Diem’s
violent removal did little, however, to stabilize the deteriorating political and military situation, as the Vietcong continued to
score significant gains in the countryside and army coup followed army coup in Saigon through the year 1964. Lyndon B.
Johnson, who had ascended to the presidency in late November 1963 upon Kennedy’s assassination, found himself faced
with the real possibility of losing a client government in Saigon to political instability and Vietcong advances. Alarmed, he
took steps to prop up the Saigon regime by dramatically Americanizing the war.
In early August 1964, Johnson manipulated a naval incident off the coast of North Vietnam to win congressional approval
of the open-ended Tonkin Gulf Resolution, which authorized him “to take all necessary measures . . . to prevent further
aggression.” After his election landslide in November, he and his advisers met to plan escalations in Vietnam. In late
February 1965, Johnson launched a massive and sustained bombing campaign against targets in South Vietnam, North
Vietnam, and Laos. In early March, he landed combat units near Danang. By year’s end, over 180,000 American troops,
airmen, and sailors were deployed throughout South Vietnam, with more on the way. In late 1968, American troop strength
reached 550,000. Most were draftees.
By 1965, meanwhile, a large antiwar movement had emerged in the United States, as had a “counterculture” movement.
The two were not the same. The antiwar movement was unconventional but “mainstream” in the sense that its adherents
believed in the value of taking political steps to bring about political change. They challenged the foreign policy orthodoxy
that had justified military intervention in Third-World revolutions and offered proposals for a way out of the quagmire of
Vietnam. The counterculture movement was counter-mainstream in its rebellion against cultural norms, including the norm
of political participation. Their rebellion focused instead on alternative hair, apparel, and musical styles, less restrictive
attitudes toward sexual customs and drug use, and the creation of small, non-hierarchical communities.
By 1967, however, both movements had adopted selected elements from one another. Some in the counterculture became
more politically active, and some in the antiwar movement, as well as in the general public, absorbed styles and behaviors
from the counterculture. James Rado and Gerome Ragni conceived Hair in this historical context.
The year 1968 was the time of the Tet Offensive in Vietnam and deep crisis at home. American military personnel and their
Saigon army allies engaged in bloody battle with Vietcong guerrillas and North Vietnamese regulars. Casualties continued
to mount on both sides, and they included great numbers of Vietnamese civilians. Johnson decided he would not run for
reelection, Martin Luther King and Robert F. Kennedy were murdered, cities once more erupted in race-related violence,
families and friends became even more divided, and advocates for peace and reform despaired.
Richard M. Nixon was elected president (1969 - 1974) in this context. He had promised during the presidential campaign to
bring about “law and order” at home and “peace with honor” in Vietnam. But in Vietnam his secret plan was to implement
new military strategies to force the other side to accept his peace. The plan included carrot-and-stick diplomacy with Hanoi,

Moscow, and Beijing, secret and dire threats to destroy North Vietnam, continued military operations on the ground, and
the expansion of the bombing of Cambodia, Laos, and North Vietnam. When his plan failed to force concessions, he
put greater emphasis than before upon withdrawing American troops (to signal that the war was “winding down”) and
“Vietnamization” in Vietnam (the accelerated training and equipping of the South Vietnamese army to compensate for
gradual U.S. withdrawals).
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In the end, in January 1973, persistent deadlock in Vietnam and declining support for the war at home forced Nixon to
accept a compromise solution, which left the Saigon government in power but also left the North Vietnamese army in
place in South Vietnam, while granting tacit political recognition to the National Liberation Front. After U.S. forces withdrew,
renewed fighting broke out between Vietnamese adversaries, and in late April 1975, Saigon fell. Vietnam was reunited
under a Communist government. Although Nixon had privately anticipated this outcome, he, Henry Kissinger, and President
Gerald R. Ford (1974 - 1976) falsely blamed opponents of the war for the collapse of South Vietnam and the defeat of
American policy, thus helping to perpetuate division and bitterness.
By the time the Vietnam War came to an end, it had caused the death and wounding of millions, retarded Indochina’s
economic development, set in motion profound social and political changes within the main belligerent nations, and
contributed to a realignment in international relations. In America, the war both slowed and accelerated domestic reform
legislation, and it helped trigger inflation, “stagflation,” social division, political upheaval, a generation gap, and dissent within
and without the government. Policymakers drew conflicting lessons. Some saw the war as a tragic mistake; thus, future
wars like it should be avoided. Others saw the war as one in which defeat had been snatched from the jaws of victory; thus,
future wars like it could be won with better methods. The
war in Vietnam had served as a powerful catalyst for change
and conflict during the “Long Sixties” (circa 1956 - 1975). Its
legacy endures.
Jeffrey Kimball is a professor at Miami University
and the contributing editor of To Reason Why: The
Debate About the Causes of American Involvement
in the Vietnam War (New York: McGraw-Hill, and
Philadelphia: Temple University Press,1990) and
the author of Nixon’s Vietnam War (Lawrence:
University Press of Kansas, 1998), which won the
Ohio Academy of History Book Award and the Robert
Ferrell Book Prize. His latest book is The Vietnam
War Files: Uncovering the Secret History of Nixon-
Era Strategy (Lawrence: University Press of Kansas,
2004). He is also the author of numerous articles
and book chapters on diplomacy, war, peace, and
historiography, the former president of the Peace
History Society, a former Nobel Institute Senior
Fellow, and a former Woodrow Wilson International
Center Public Policy Scholar.

Hair - Musical Numbers & Synopsis
Musical Numbers - Act I
Aquarius - Ronny & Tribe
Donna - Berger & Tribe
Hashish - Tribe
Sodomy - Woof & Tribe
Colored Spade - Hud & Tribe
Manchester, England - Claude & Tribe
I’m Black - Hud, Woof, Berger, Claude & Tribe
Ain’t Got No - Woof, Hud, Dionne & Tribe
Dead End - Quartet
I Believe In Love - Sheila & Trio
Ain’t Got No Grass - Tribe
Air - Jeanie, Dionne, Crissy
Initials - Tribe
Kama Sutra - Orchestra
1930’s - Berger
Manchester II - Claude & Tribe
I Got Life - Claude & Tribe
Going Down - Berger & Tribe
Freak Out - Orchestra
Hair - Claude, Berger & Tribe
My Conviction - Margaret Mead
Sheila Franklin - Tribe
Easy To Be Hard - Sheila
Hung Up - Tribe
Don’t Put It Down - Woof, Berger, Steve
Frank Mills - Crissy
Be-In “Hare Krishna” - Tribe
Where Do I Go - Claude & Tribe
Musical Numbers - Act II
Electric Blues - Quartet
Oh Great God of Power - Tribe
Manchester III - Tribe
Black Boys - White Girls Trio
White Boys - Black Girls Trio
Walking in Space - Dionne, Steve, Leata, Jeanie,
Sheila & Tribe
General Washington - Orchestra
Indian Music - Orchestra
Minuet - Orchestra
African Drums - Percussion
Abie, Baby - Hud & Others
The War - Monks, Nuns, Tribe
Three-Five-Zero-Zero - Tribe
What a Piece of Work is Man - Ronny & Walter
How Dare They Try - Tribe
Good Morning Starshine - Sheila & Tribe
The Bed - Tribe
Reprise: Ain’t Got No - Claude & Tribe
The Flesh Failures (Let the Sun Shine In) - Tribe
Eyes, Look Your Last - Claude, Sheila, Dionne &
Tribe
The American Tribal Love-Rock Musical HAIR is a stage work in two acts. There are no specific
scenes. The setting indicates the fluid-abstract world of the 1960’s as seen by, for and about
“The Flower Children” of the period.
There will be one 15-minute intermission between Act I and Act II.

WHO’S WHO IN THE COMPANY
Orchestra
Jack Liles, Conductor
Trumpet - Alex Nauth and Creel O’Neil
Trombone - Darren Ling
Baritone Saxophone - Jeremy Dewinter
Keyboard - Brian Hoffman
Guitar I - Jay Brunner
Guitar II - Adrian Martin
Bass - Steven S. Myers
Percussion I - T.J. Hartman
Percussion II - Thomas Sparling
Rehearsal Pianists: Brian Hoffman and Beth Chapman-Broyles
Portia Alves (Hud) is a sophomore Family Studies major who enjoys and appreciates the performing arts. This is her first theater
experience here at Miami University, but she has played Mary Magdalene (Jesus Christ Superstar) and Scarecrow (The Wiz) in high school
productions. Portia would like to thank her friends for being supportive of her endeavors and the cast for being so extra random. She
would also like to state for the record that she dislikes black eye peas and loathes chitterlings, but loves collard greens. Also, while she
does admire the groovyness of White boys, Black boys ARE delicious.
Lisa Jean Baldwin (Jeanie) is a first year Music Education major at Miami. She was last seen as Rosemary Pilkington in the Lakota East
production of How to Succeed in Business Without Really Trying. In her free time she enjoys writing music, playing piano, and riding
roller coasters. You might have heard her at your local church, as she sings at weddings on the weekends. She would like to thank: God
for all His blessings, her family for all their love and support, her friends at Collins Hall, the cast and crew of Hair, and her friends and
family from Westchester and Wisconsin.
Jessica Basista (Make Up Designer) is excited to be a sophomore Theater major here at Miami, and is even more thrilled to get to work
on her second show for hair and make up. She was fortunate to design the hair for last years Genesis Project, and hopes everyone likes
the hair and makeup Robert and she designed for this cracked out rock musical Hair.
Jon Corvin-Blackburn (Woof) is a first-year here at Miami University. He plans to major in Integrated English Education with a minor in
Theatre. With his free time, Jon enjoys watching movies, shopping, and playing Super Nintendo with his Collin’s buddies. Jon wants to
wish everyone in the cast and crew good luck and he hopes that you will enjoy the show.
Pocha Carter (Hiram) was born in Peoria, Illinois and was raised right outside Chicago. He is a first year Political Science major. He is
excited to be part of one of Miami’s renowned productions. His past productions include The Wiz and Scrooge Has Left the Building. He
would like to thank “Stage Mom” Kathleen, his secret crush/director Bekka and the entire cast., a.k.a. the Hair family. Oh yeah, he wants to
thank his real family; Mom, Dad and Baby Bro. He dedicates this performance to his grandmother “Miko”.
William Doan (Producer/Chair) holds a BA from Gannon University, and MFA from Virginia Commonwealth University and a Ph.D.
from Case Western Reserve University. He served eleven years as the Director of Theatre at Gannon, then as Director of Liberal Studies,
Associate Provost for Academic Affairs and Dean of the College of Humanities, Business and Education. Dr. Doan is known nationally in
professional theatre in higher education organizations, currently serving as National Treasurer for the Association for Theatre in Higher

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Education. His theatre productions have been recognized with numerous certificates of merit by the Kennedy Center/American College
Theatre Festival, and he has been honored for outstanding teaching. In addition to creative work, Dr. Doan maintains a commitment to
published scholarship. Dr. Doan co-authored Prophecy, Power and Performance for Trinity Press, scheduled to be released in spring
2005.
Tya Sharel Dawson (Dionne) is a junior at Miami, majoring in English Literature. Hair is Tya’s first performance, however as a former
interior design major, she has worked with Miami’s Department of Theatre in the area of set design. In the spring, she will be a set design
assistant for Miami’s production of Pentecost. Tya would like to thank all of those who have supported her in this endeavor. To my family,
thank you for always believing in me. Special thanks to Dylan, Erica, Majida, Megan, and Shiree for giving me the confidence to go for it!
And to Miami’s Department of Theatre and the cast and crew of Hair, thank you for all of your hard work, talent, patience, friendship, and
love. Peace.
Gion DeFrancesco (Production Manager) joined the faculty of Miami University in the fall of 2001 and teaches courses in scene design,
design communication skills, scene painting and American musical theatre. He also designs scenery and serves as scenic charge artist for
MU Theatre productions. Recent designs at Miami include The Boys from Syracuse, Anowa, As Bees in Honey Drown, Green Gables, and
Venus. Regionally he has designed and painted at a number of theatres across the country including Big River at the Gallery Players of
Brooklyn, I Love You! You’re Perfect! Now Change! at the Florida Repertory Theatre, and The Magic Flute at the Illinois Opera Theatre.
Tom Featherstone (Scene Shop Supervisor) has managed the Scenic Studio since August of 1995. He teaches laboratory courses for
the Theatre Department in set construction. He is a former Technical Director at Miami University Theatre, Evansville Dance Theatre and
Indianapolis Civic Theatre.
Austin Frazee (Margaret Mead) is a junior Interdisciplinary Studies major with a focus in design for theater. His earlier roles at Miami
University include Mannoury in The Devils and Three in The Successful Life of Three. He comes to Miami from Newark Ohio where he
studied mainly theater, art and music. He would like to thank his friends and castmates for living the hippie life in Hair for the last few
months with him and hopes that they remain as close as they are now.
Renee Gorka (Crissy) is a senior Theatre major from Madison, Ohio. She has also been seen in Six Characters in Search of an Author,
Boys From Syracuse, and Birds. She is currently directing Icarus’s Mother by Sam Shepard for the 600 festival. Renee is also a member of
the Misfitz, a student run all girls a cappella group. She would like to thank Caroline, Drew, and her parents.
Julia Guichard (Vocal Coach) is an Assistant Professor of Theatre at Miami. In addition to serving as vocal coach during the production
season, Julia teaches voice, speech and acting and is a certified teacher of the Alexander Technique. She is also an actress; recent roles
include Clara in Hay Fever for MU Summer Theatre and Gertrude in Hamlet for Stage First Cincinnati. Julia holds a BFA in acting from the
Goodman School at DePaul University and an MFA from Penn State.
Chris Heaton (Walter) Chris is a first year Theater major. This is his first production at Miami University. In high school, he was a part of
four musicals including Oklahoma! and Fiddler on the Roof. He would like to thank all the people in the cast, Bekka and stage managers,
and his multiple roommates that have helped with his work. He would also like to thank his family, especially his parents.
Brian Hoffman (Pianist) is a graduate of the University of Michigan where he received a B.M. in Music Theory. While attending, he
performed with many area groups including Ann Arbor Civic Theatre and served as the Music Director for The Secret Garden on campus.
In addition, he arranged and composed music for the University of Michigan Jazz Lab Ensemble, Latin Jazz Ensemble, and Pops Orchestra.
This June, Brian will receive his Master’s Degree in Music Theory from the College Conservatory of Music at University of Cincinnati where
he is currently an instructor of music theory for freshman musical theatre majors. He would like to thank Jack for the opportunity to play
with the Miami University Theatre Department and, as always, looks forward to a long career of writing about himself in the third person.
Tamara L. Honesty (Scenic Designer) is pleased to return to Miami University (after several seasons with Miami University Summer
Theater). Currently freelancing as primarily a scenic designer and/or scenic artist, her painting work can be seen on cruise ships sailing
around the world while her designs are appearing on stages throughout the region. Recent projects have been seen locally with the
Cincinnati Playhouse in the Park’s Skilken-Brown Touring Company (Twelfth Night, Lives Worth Living) and at Xavier University (Music

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Man, King Stag, and the regional premiere of Dead Man Walking), other projects include Baby (Cornell University), the 2003 Summerfest
season at University of Illinois Urbana-Champaign, Ghosts for Oberon Theatre Company (Off-Off Broadway) in NYC. The Human Race
Theatre Company enlisted Tammy’s talents as a Prop Master for The Odd Couple; the Playhouse in the Park recruited her as a design
assistant for The Love Story of J. Robert Oppenheimer. She held the positions of Resident Charge Artist and the Props Coordinator at
Cornell University. Tammy earned her MFA at West Virginia University.
Natalie Nicole Lanni (Sheila) is a junior Theatre major here at Miami University. Previously at Miami she was seen in The Boys from
Syracuse and also in the Stage Left productions of Footloose and Into the Woods. Recently she joined as a member of the Thrall
Children’s Theatre. She would like to thank Bekka Eaton for her wonderful enthusiasm and guidance; the whole cast for a truly amazing
trip (no pun intended); and of course, the constant love and support of her wonderful family and friends. Natalie’s performance is
dedicated in loving memory of her Nonna. To Everyone: “I do believe in love.”
Christopher Ledermeier (Steve) is a junior Mass Communications major and is ready to groove in Hair, his fifth production at Miami
University. No need to wig out, you’ve seen him before! His past credits include Execution of Justice (Sister Boom Boom), As Bees in
Honey Drown (Skunk), Birds (Hoopoe), and The Devils (Fr. Barré). Christopher would like to send out peace and love to his friends and
to his family. Most of all, he would like to thank Aunt Meme, that out of sight chick who has always supported everything he’s done. Now
let’s wail, baby!
Mark Levy (Ronny) is a freshmen Voice Performance major. Some previous productions include: A Funny Thing Happened on the
Way to the Forum (Erronious and Hysterium with Mariemont Players), Noises Off (Garry/Roger), Into the Woods (Cinderella’s Prince),
and seven operas with the Orlando Opera Company’s children chorus. He recently received second place “best male freshmen”at NATS
singing competition in Ann Arbor, Michigan. Mark would like to thank his amazing Mother and Lizzy Loo, Ben Smolder, Lynne Miller, his
amazing friends and family, and, of course, Barbra Streisand.
Jack Liles (Music Director/Conductor) is a professor of Music at Miami University and the former director of the Miami Marching and
Symphonic Bands. He has served as Musical Director for numerous main stage musicals and summer theatre productions. He is a
frequent guest conductor and clinician/adjudicator throughout the Midwest and South.
Suzanne E. Maier (Linda) is a third year student at Miami and this is her first MU Theater production. Originally from Wilmette, a suburb
of Chicago, she is completing her studies in Speech Pathology with a minor in Spanish. Some of her past roles include Chava in Fiddler
on the Roof and Vibrata in Stage Left’s A Funny Thing Happened On the Way to the Forum. She is also a member of the MU Collegiate
Chorale. Suzanne would like to thank her friends and family for their endless support in all her performing endeavors, especially her
mother who has been a continuous and immeasurable inspiration in her life.
Cecilia “Cece” Miller (Diane) is a junior double majoring in Theatre and Environmental Science. She’s previously been in The Execution
of Justice, Boys From Syracuse, The Genesis Project and has had the privilege of touring with Thrall Children’s Theatre this past year. She
would like to thank her parents for their continuing love and support “3 C legacy!”, her three fabulous roomies for putting up with her
late night rantings and overblown dreams, and everyone who has kept her smiling from day to day. Peace and Love to all who are open
enough to accept it!
Steven R. Pauna (Technical Director/Properties Master) begins his fifth year as Assistant Professor of Theatre Technology and faculty
technical director. He has also provided technical direction and scenic design for Michigan State University, Kent State University, Bemidji
State University (Bemidji, MN.) and Luther College (Decorah, IA). Professional credits include technical direction at the Cincinnati
Playhouse in the Park and three years of technical direction and scenic design for The Porthouse Theatre Company on the grounds of the
Blossom Music Center near Cleveland.
Meggan Peters (Costume Shop Supervisor) is in her tenth year as Costume Studio Supervisor. Design credits at Miami include:
Bourbon at the Border, The Devils, Green Gables, The Fourth Wall, Execution of Justice, Hay Fever, Joseph and the Amazing Technicolor
Dreamcoat, Lady in the Dark, The Triumph of Love, The Drinking Gourd, The Imaginary Invalid, Glass Menagerie, Our Country’s Good
and Romeo and Juliet. She is a member of USITT, and has created costumes for numerous operas, musicals, and plays for area theatres.
Last Summer, she was a Costume Assistant at Kent State’s Porthouse Theatre. She resides in Oxford, and is the mother of two sons, Jake
and Nathan.

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Kathleen Petroziello (Stage Manager) is a senior Theatre major with focus in both stage management and scene design. At Miami, she
has stage managed Anowa, Birds, and The Little Clay Cart. She has also served as assistant scene designer for The Boys from Syracuse
and The Devils. This spring, she is excited and quite scared to be the scene designer for The Memorandum. She plans on continuing
stage management in Chicago after graduation and is grateful to the faculty for preparing her for the real world (she hopes). Kathleen
would like to say that she hearts Bekka, her ASMs, her cast, and her crew.
Jay S. Rozema (Lighting/Sound Designer) is very pleased to be returning to the faculty at Miami University teaching courses in lighting
design, sound design, stage management, and fundamentals of lighting. Jay previously served as the Scenic and Lighting Designer at
Northwest Missouri State University and has also taught at The University of North Carolina at Pembroke. Beyond teaching he has held
the positions of Production Manager or Technical Director for the Peterborough Players, Interlochen Arts Academy (National Music Camp),
Givens Performing Arts Center, and the Freed Center for the Performing Arts at Ohio Northern University. Recent lighting designs include
The Devils, Genesis Project, Dancing at Lughnasa, School for Scandal, Guys and Dolls, and Picnic. Jay has also designed sound for
performing acts that include Shirley Jones, The Glenn Miller Orchestra, and The Kingston Trio as well as last year’s Miami productions of
The Birds, and The Devils. Jay holds a BFA degree in technical production from the University of Arizona and an MFA in Lighting Design
from the School of Theatre at Florida State University.
Sami Schalk (Natalie) is a first year Creative Writing major from Southgate, Kentucky. Hair is her first Miami production and she is very
excited to be a part of the cast, playing the tribe member Natalie. Sami would like to thank her friends at home for encouraging her to
audition, and her friends at Miami (especially Kavi and Justin) for taking such good care of her. Sami also wants to express the most
sincere gratitude to her mother for all her love and support and Ms. Alison Williams for giving her confidence in her abilities. Sami wishes
the best of luck to the amazing cast members who have been so friendly and helpful since day one and hopes that everyone enjoys the
show.
Stacy Gear-Schindel (Choreographer) has over 20 years of teaching and performance experience. Past productions for Miami include
Joseph and the Amazing Technicolor Dreamcoat and State Fair, both MUST productions. Stacy earned her BFA in Dance from Wright
State University and has been a member of Dayton Ballet II and DCDC II. Stacy choreographs for a local theatre in Dayton and is also
the Dance Area Coordinator for WTRC. Stacy has had the opportunity of studying Luigi jazz technique from the innovator himself, Luigi,
in New York City and studied at the Alvin Ailey Dance Center as well as Steps On Broadway, both in NYC, opportunities to study dance
in London, England as well. Stacy has danced all her life and was also Dance Captain and a performer for La Comedia Dinner Theatre in
Springboro, Ohio. Stacy is also enjoying married life, still a newlywed, was married this past July. To our cast: “Love and Peace. Have
fun!”
Lauren Shiveley (Leata) is in her fourth year at Miami as a Theatre major/Vocal Performance minor. Recently, she spent the summer
in Cape Cod performing in musicals such as Sweeney Todd, Crazy for You, and Guys and Dolls. During her years at Miami, she has
played Luciana in Boys from Syracuse, the Devil in A Soldier’s Tale and has enjoyed traveling the world with the Thrall Children’s Theatre.
“Thanks to God for all His blessings and for the people who put up with me daily. I love you.”
Tim Simeone (Claude) completes his 4th performance at Miami with Hair. He was last seen in The Devils. He thanks: God for all the
blessings given to him, his family for their love and support, the Hair production team and cast for all their hard work, JT, RJ, Will, Chump,
JZ, Chad, Langhals for their priceless friendship and constant support, the Outdoor Pursuit Center for their friendship, flexibility, and
support and for giving him some of the best experiences of his life. He dedicates his performance to Lee, Gail, Peter, Jo, Grandpa, and a
very special lady watching from heaven. “Trust in the Lord with all your heart and lean not on your own understanding; in all your ways
acknowledge him and he will make your path straight.” (Proverbs 5-6).
Ben Smith (Assistant Stage Manager) is a senior Mass Communication major. He has no affiliation with the Theater Department other
than he thinks the students and faculty are awesome. Ben has worked on lighting for The Devils, and has also done some lighting/sound
design for EXPO. When not taking theater classes, he enjoys making short films and documentaries, and producing news packages for
MUTV. Ben would like to thank Jay Rozema, Kathleen Petroziello, Andrew Beal, Emily Pucell, Phil Asta and any other theater faculty/
student who has ever taken time to help this non-major out.
Nate Swinehart (Assistant Stage Manager) is a Theatre major finishing his last semester at Miami and is happy to be going out with such

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a bang. Nate enjoys drawing, writing, watching movies and not playing soccer. Also a Japanese minor, he is currently applying to Grad
school and trying to survive the ordeal. He would like to thank his family, the folks of Unisix, his Japanese-y friends and a certain Canadian
for their constant love and support.
Molly Thomas (Emmaretta) is a freshman Theatre major from little ole Oxford, OH, and is loving her debut into shows at Miami. Having
been involved in over 20 shows, she has fallen in love with musical theatre, and intends to pursue it as her career and will hopefully reach
her “cliché” goal of the Broadway stage. I’d like to thank Ryan and Marie Steffen for helping me find my love of performing; my family for
their consistent craziness and support; Cameron for his life-changing love and laughter; and the cast for the amazing bond we’ve made
through this show. You all mean the world to me!
Caroline Willoughby (Mary) is a senior Theatre major from North Canton, OH, previously seen in Birds and Execution of Justice on the
main stage, and Feeding the Moonfish for TRIO. Caroline is also a member of the Misfitz, Collegiate Chorale, and Kappa Delta sorority.
Much thanks to my family for their unyielding love and support, and to Gorka for keeping me sane!
Clinton Wright (Berger) is a Choral Music Education major with a Theater minor from Williamsport, Ohio. He is proud to be making
his main stage debut with the cast of Hair. Clinton was last seen in the Miami University Opera Production of La Perichole in Fall 2003.
Before transferring to Miami, Clinton attended The American Musical and Dramatic Academy where he studied musical theater. While at
AMDA, Clinton studied with NYC famous Linda Glick, Virginia Sandifur, and Lindsay Chambers. Clinton has also worked as assistant casting
director for the Roundtown Players Community Theater of Circleville, Ohio. Clinton would like to give a special thanks to Berger for the
daily reminders of what is truly important, to Bill’s Goat’s, and to Kathy for more love than one guy ever deserves.
Beware of Rules: A brief look at the 60’s from the point of view of two
of its biggest icons - Abbie Hoffman and Timothy Leary by Jene Rebbin Shaw
Beware of structure freaks
Beware of rules
--Abbie Hoffman, Revolution for the Hell of It, 1968
The 60’s counterculture evolved as a reaction to the current society, particularly the confidence of the white American
middle class: after all, they “won two wars and put a man in space…..yet this very faith in progress and rationality
produced a counterculture that licked at its foundations” (Bromell 64).
Just what are “hippies?” If you ask Abbie Hoffman he would tell you that they’re a “myth….there is no definition,
there is no organized conspiracy” (26). What were the 60’s all about? Timothy Leary would tell you they were about
“attempting to raise consciousness and encourage and empower people, particularly young people, to think for
yourselves and question authority” (qtd. in Law 108). What was the cultural revolution? Leary says that he, Hoffman,
and others “were trying to perform a cultural revolution without price and politics, or without guns, or without any of
the trapping of power. It was being done with intelligence and heightened consciousness” (qtd. in Law 108).
If there’s an example of the fusion of the counterculture and the political (or anti-political) activism, it would have
to be Abbie Hoffman (1936-1989): he looked like a hippy, took LSD, went to Be-ins, was active in civil rights and
environmentalism, and led non-violent protests (including “the charge of the flower brigade”). After moving to New
York, Hoffman helped form the Yippies (Youth International Party). His idea of activism was always theatrical, and
aimed at drawing lots of attention: in his own words, “Media is free. Use it. Don’t pay for it. Don’t buy ads. Make news”
(44). Hoffman originally stood trial with Black Panther Bobby Seale as one of the “Chicago 8” after a demonstrationturned-riot
at the Democratic National Convention in 1968. One of Hoffman’s most infamous media stunts was his

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“Exorcism of the Pentagon.” He and his followers surrounded the Pentagon with the aim of causing it to levitate in
order to exorcise the evil from it.
Timothy Leary (1920-1996), who was a friend of Abbie Hoffman, is known for his leadership of the Psychedelic
Movement. Leary (who held a PhD in Psychology) was a lecturer at Harvard University before he and Harvard
colleague Richard Alpert founded the IFIF (International Foundation to Internal Freedom) to promote the freedom to
use LSD and other similar drugs. Leary viewed his work as religious, and in 1965 (after visiting India) he converted to
Hinduism.
The recurring theme of the movements of the 60’s, from the civil rights movement and the anti-war movement to the
counterculture movement and the psychedelic movement, is freedom. The counterculture particularly emphasizes
intellectual freedom: freedom from the constraints of society and the dominant culture. Leary advocated “loosen[ing]
up the shackles that keep all of our minds from being free, the shackles that are laid upon us by society, by organized
religions, and of course by most politicians” (qtd. in Law 109).
Why mind-altering drugs? Why psychedelics? For ages, in many cultures and religions, altered states of consciousness
(whether achieved through drugs, meditation, or other means) have been an important part of getting in touch with
some higher power, with one’s inner self, or with others. Psychedelics were used as a way to escape from the present
dimension of reality, and to discover new dimensions. “The power of psychedelics to release users from….their
inherited history and their cultural training is why they appealed with such force to the youth of the 60’s” (Bromell 72).
A well-know phrase popularized by Leary (although he did not originate it) is “turn on, tune in, and drop out” What
exactly does this mean? As Leary explained it years later:
“Turn on” means activate the divinity or the great spirit inside you…And “Tune in” means once you’ve done that,
to go back to society and tell everybody else about it…. And “Drop out” doesn’t mean drop out and spend the
rest of your life smoking marijuana and listening to Beatles records. “Drop out” means change. “Drop out” means
drop in and drop out (qtd. in Law 118).
What was accomplished by the activism of the 60’s? How does it pertain to where we are now? Timothy Leary says
that “the 60’s are happening wherever young people begin thinking for themselves and do something to make it a
better world” (qtd. in Law 118). In 1989 Leary quoted Abbie Hoffman:
We did not end racism, but we ended legalized apartheid in this country. And they will never go back
on that…We did not end militarism in this country, in the world, but never again will the American
people allow a military clique in the Pentagon to send a million American young people nine thousand
miles across the globe to fight a war that the people do not want (qtd. in Law 111).
Jene Rebbin Shaw (Dramaturge) is a first year Graduate Assistant in the Theatre Department. She received her
BA in Theatre at Miami University. She has directed children’s theatre productions and taught classes including
working for The Human Race Theatre.

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BIBLIOGRAPHY OF SOURCES
“Abbie Hoffman.” Encyclopedia of World Biography. 2 nd ed. Gale Research, 1998.
Bromell, Nick. Tomorrow Never Knows: Rock and Psychedelics in the 1960s. Chicago:
University of Chicago P, 2000.
Hoffman, Abbie. Revolution for the Hell of It. New York: Dial Press, 1968.
Law, Lisa “Timothy Leary.” Interviews With Icons: Flashing on the Sixties. Santa Fe: Lumen
Books, 2000. 107-118.
“Timothy Leary.” St. James Encyclopedia of Popular Culture. St. James Press, 2000.
Scene Design by Tamara L. Honesty
Peace. Love. Happiness. Those are words that people of my generation associate with the hippie movement in the 1960’s.
In truth, that point in history wasn’t filled with peace, love, and happiness; there was a tremendous amount of conflict in the
world and amongst Americans here at home. Although the world was not filled with peace and love, many people were
seeking a way to bring them into their daily lives.
As we began this journey, Bekka was adamant that the Sixties not be caricaturized. The initial images that flashed in our
brains of the sixties weren’t on the path we wanted to travel. Gigantic peace signs, psychedelic colors, flowers, and other
iconographic images, which have become nostalgic images of the era were not where we wanted to go. Instead, we chose
to approach the show by creating an environment in which this tumultuous era could live. Our environment was to be
organic embracing the elements of earth, water, and fire within it. An urban park provided a place where groups of young
people could gather. People from different backgrounds but similar ideas about the events happening in the world could
join together and share their journey.
My research led me on quite a wild ride of visual images. There were a couple of images from Central Park in NYC that
grabbed me. One was of a bridge with hillsides meeting each end. This spoke to me as a metaphoric bridge between the
stereotypes we have of the time period as well as between the conflicting ideas of the era. Also, the arch itself seemed to
embody the qualities of the script. Hair is not a conventional, linear, plot-driven musical. Instead it is series of moments,
each standing by itself yet connected by our ideas, hopes and dreams. Another image was of steps descending into an area
near Bethesda Fountain. This was an excellent way of creating a bridge between the audience and the cast for the many
moments of interaction encouraged by the text. The research into the artists of the era like Peter Max was not wasted either;
we found ways to integrate the pop art of the time into the show without making it the dominant element.
We are happy to have you with us on journey back to the sixties in our continuing search for love and happiness. Peace.

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Company CREDITS
For this Production
Stage Manager Kathleen Petroziello
Assistant Stage Managers Kat Paddock, Ben Smith, Nathan Swinehart
Master Electrician Abby Workman
Production Dramaturg Jene Shaw
Running Crews
Rail Supervisor
Props Supervisor
Costume Supervisor
Light Board Operator
Followspot Operator
Sound Operator
Deck/Fly Crew
Deck Electrician
Wardrobe Crew
Makeup Crew
Darren Bailey
Katie Peyton, Ryan Trembley
Sara Dominguez
Bryan Schmidt
Jessica Trantisook, Ryan Yates
Drew Dorner
Justin Baldwin, Whitney Flight, Justine Kammer
John Palman, Annie Perry
Laura Kick, Julia Martin, Rose Reynolds
Kerri Duncan
MU Theatre
Producer
William J. Doan
Production Manager Gion DeFrancesco
Technical Director Steven Pauna
Scene Shop Supervisor Tom Featherstone
Scene Shop Staff Andrew Beal, Laura Brant, April Cook, Tim Hawkins, Jessica Jewell,
Kathleen Petroziello, Clara Smith, Eryn Whistler
Scenery Construction THE 103 & THE 204
Electrics Staff
Brian Alexander, Vonzell Carter, Brian Farkas
Electrics Crew Philip Parli-Horne, THE 103, THE 254
Property Master Steven Pauna
Scenic Charge Artist Gion DeFrancesco
Paint Crew
Rachel Bailey, Paul Morrow
Costume Shop Sup. Meggan Peters
Costume Shop Staff Hannah Bystrom, Kim Cheng, Marion Lytle, Lucy MacDonald, Shannon
McGill, Erin Moody, Rose Reynolds, Clinton Wright
Costume Construction THE 103
Audience Development Lisa A. Campbell
Audience Dev. Asst. Emily Rose Goss
House Manager Judy Hsu
Audience Dev. Crew THE 103
Administrative Asst. Karen Smith
Senior Account Exec. Jeanne Johnston
Vocal Coach
Julia Guichard