Haha, exactly...it seems like Rado's never finished. I believe he and Ragni were actually fired (for a short time) from the Broadway production in 1969 because they began adding too many things, some of them even racier than what originally appeared in 1968. "Fired" doesn't even begin to describe it. Producer Michael Butler didn't screw around...he went down to the docks himself, picked up a length of chain, walked however many blocks it was to the Biltmore with what looked like this gigantic pile of chain, and padlocked the doors so they could not enter. Guards (no doubt also hired from the docks simply for looking tough...again, Butler didn't screw around) were even posted outside for a while to ensure they could not enter period, be it as actors, authors, or to simply attend the show.
It was only when he learned that this was against Dramatists Guild rules and that he'd have to pay major fines did he decide to hash it out with them and include all their changes. Like most producers with other shows, he saw HAIR as a locked product that worked, so why mess with what worked?
Even now, as the Public production was opening, his comments (among other people's) were published in Variety pre-opening denouncing the reported changes to the script/score and saying that the original production was the best version.
On the one hand I applaud the constant revision because it's so unusual and so much in the spirit of the show--just as the OBC never really put on the exact same show twice, it's kind of cool that you can always come back to a new production of Hair and find something that wasn't there before. And it's nice to see a writer willing to accept that there's always room for improvement. But on the other hand, enough already! There does need to be a definitive version at some point. Totally agree here. And each time Rado revises it, it's mainly for personal autobiographical reasons (namely, re-adding the Claude-Berger-Sheila love triangle because, well, Claude and Berger were very much him and Ragni, and he and Gerry were...well...need I draw you a picture?). Sometimes it's for completist reasons as well; in one version I remember him trying to write all the songs from "DisinHAIRited" into the show and replacing huge sections of book, making it more like a rock opera seldom interrupted by dialogue bits, a la more modern pieces like "Tanz der Vampire." (It actually kind of worked; if he has to carry on revising it after this, I suggest he use this book as a basis and work in the songs.)
Looks like Rado has settled on a great version this year, but I do wonder whether he's truly satisfied. You and me both.
"There is no problem so big that it cannot be run away from."
~ Charles M. Schulz