Sarah Elisabeth Browne is Head of the School of Performing Arts and Associate Dean at the University of Wolverhampton, UK. She has worked extensively as conductor, arranger, and musical director, and has worked in education for over 20 years. Her research interests include the politics of race and gender in musical theatre, American musical theatre of the 1960s, and stage-to-screen transitions of musicals.

• ForewordAcknowledgementsIntroduction1: Hair: Origins, Forms, and the ‘Fragmented’ Musical.PART I: Race2: ‘Colored Spade’: Reappropriating Stereotypes.3: ‘I Ain’t Dyin’ for No White Man’: Black Power on Broadway.PART II: Gender4: Feminist Approaches.5: Multiple Masculinities.PART III: Hair and Its Resonances6: Crossing Over: Hair and the Music Industry.7: Reviving the Text: Hair in the Contemporary Era.8: The Utopian Promise of Hair.9: Conclusion.Index

Sarah Elisabeth Browne is Head of the School of Performing Arts and Associate Dean at the University of Wolverhampton, UK. She has worked extensively as conductor, arranger, and musical director, and has worked in education for over 20 years. Her research interests include the politics of race and gender in musical theatre, American musical theatre of the 1960s, and stage-to-screen transitions of musicals.

• ForewordAcknowledgementsIntroduction1: Hair: Origins, Forms, and the ‘Fragmented’ Musical.PART I: Race2: ‘Colored Spade’: Reappropriating Stereotypes.3: ‘I Ain’t Dyin’ for No White Man’: Black Power on Broadway.PART II: Gender4: Feminist Approaches.5: Multiple Masculinities.PART III: Hair and Its Resonances6: Crossing Over: Hair and the Music Industry.7: Reviving the Text: Hair in the Contemporary Era.8: The Utopian Promise of Hair.9: Conclusion.Index

Sarah Elisabeth Browne is Head of the School of Performing Arts and Associate Dean at the University of Wolverhampton, UK. She has worked extensively as conductor, arranger, and musical director, and has worked in education for over 20 years. Her research interests include the politics of race and gender in musical theatre, American musical theatre of the 1960s, and stage-to-screen transitions of musicals.

• ForewordAcknowledgementsIntroduction1: Hair: Origins, Forms, and the ‘Fragmented’ Musical.PART I: Race2: ‘Colored Spade’: Reappropriating Stereotypes.3: ‘I Ain’t Dyin’ for No White Man’: Black Power on Broadway.PART II: Gender4: Feminist Approaches.5: Multiple Masculinities.PART III: Hair and Its Resonances6: Crossing Over: Hair and the Music Industry.7: Reviving the Text: Hair in the Contemporary Era.8: The Utopian Promise of Hair.9: Conclusion.Index