“I am Aquarius, destined for greatness or madness,” Claude desperately proclaims when people question him about himself. When his parents ask him what he’s got that makes him so great, his answer is that that he’s got life. The answer itself seems weak, but Creel’s rendition of the song is a joyous anthem of affirmation, as is the company’s performance of the show’s title song, which they transform into a rousing rendition of life and spirit.

While this critic could go on and on about Creel, his performance is hardly the only noteworthy one in this show. Will Swenson’s Berger absolutely oozes charisma every moment onstage, and Allison Case gives a particularly heartfelt performance as Chrissy. Darius Nichols is extremely amusing as Hud, and Cassie Levy sings a very moving rendition of “Easy To Be Hard” as Shelia. It would be impossible to name everyone in the company, though it is tempting. This group of actors shares a tangible chemistry onstage that is impossible to ignore, while performing the sleek, sensual choreography by Karole Armitage on the minimal, yet quite effective, set designs.

The staging is swift and efficient, executed so naturally that even Claude’s lengthy acid trip in the second act almost makes sense. The now famous nude scene that Hair is known for feels organic and natural, rather than an exhibition of showmanship. And a particularly moving moment is experienced in the final scene, where simplistic execution thrives and the temptation for overexposure is denied.

Some say the sixties are passé, that protesting has become a cliché and is ineffective and a waste of one’s time. Cynics say that a mere two months into his presidency, Obama has already failed the American people. Pessimists say the economy is beyond repair, and New Yorkers dread the MTA fare hikes set to take place in June. But after being urged by these flower children to “let the sunshine in,” I couldn’t help but hope. Just a little bit.