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Hairspray On Tour Review: A Feel-Good Time At The Theatre

May 11, 2022 By Ashley 1 Comment

Hairspray  is a musical comedy that delivers lots of laughs, heart, and catchy songs. Thanks to the cast's powerhouse performances and the overall uplifting positivity, this is a show that is not to be missed. 

Hairspray On Tour Review

Based on the 1988 film of the same name, Hairspray follows the story of Baltimore teenager Tracy Turnblad (Niki Metcalf) as she becomes a featured dancer on  The Corny Collins Show, an American Bandstand like show hosted by Corny Collins   (Billy Dawson), a Dick Van Dyke wannabe. No one thought she would make it due to her not looking like all the other “nicest kids in town.” Other than fighting the fat-phobia, Tracy also stands up for social justice. Once a month the show allows a “Negro Day” but other than that it is as white as can be, exactly how the racist, former beauty queen producer Velma Von Tussle (Addison Garner) wants it. Tracy cannot stand by while this continues and makes an effort to get Black teenagers to become full time dancers on the show as well. But it's 1962 and her efforts are met with hostility, and chaos ensues. 

Hairspray was instantly a modern classic 20 years ago and for good reason. Because, despite being based in 1962, this show and the lessons it teaches remain relevant to today. Packed into a little over 2 hours of a joyful, good time is a story that offers meaningful discussions around social justice and racism while promoting body positivity: learning to love the bodies we inhabit regardless of size or color. It does it all with an underlying theme of positivity and songs that range from upbeat bops to soulful ballads. Essentially, it is an incredibly uplifting way to spend an evening. 

The lasting impression of Hairspray would not be possible without the raw talent and energy the cast brings to the show. Joining the ranks that consists of Divine, Bruce Vilanch, and John Travolta is Andrew Levitt playing Tracy's mother Edna. Levitt brings warmth and love to the role without sacrificing any of the comedic prowess Edna is known for. Whether she is making quips about her size or daring a certain thin blonde to try her one more time, Levitt never misses a beat. Which is not a surprise to anyone who has followed his adventures and that of his Drag Queen alter ego Nina West, who won “Miss Congeniality” during the 11th season of Ru Paul's Drag Race .

Another crowd favorite is Motormouth Maybelle, played by Sandie Lee. When she sang the civil rights-themed “I Know Where I've Been,” cheers and praise erupted through the audience. Harris brings the right amount of gravitas and sass to Maybelle, ensuring you won't take your eyes off of her when she is on stage. Understudy Faith Northcutt filled in for Niki Metcalf and delivered an animated and infectious performance. Not to mention her vocals which offered the perfect blend of playfulness and seriousness. Jamonté D. Bruten moves as Seaweed J. Stubbs would win him all the glory in any Soul Train line. Everyone wants to be as cool as Seaweed. 

Whether you are familiar with the musical or a newcomer, the songs by Marc Shaiman and Scott Wittman are guaranteed to get you dancing and singing along. The finale of “You Can't Stop The Beat” makes it especially hard to stay seated as you fight the urge to jump on stage and grab a mic. William Ivey Long's costumes dazzle and David Rockwell's set designs do the most with the limited space to capture the heart of the original production. 

Ultimately, Hairspray is a cheerful, exciting, and feel-good time at the theatre. The cast shines, sometimes literally, as they sing, dance, and act their way into your heart. It is a must see show for longtime fans and newbies alike. Come for the show-stopping numbers and the fun, stay for the reminder that we are all capable of making a difference and that true love transcends all things. 

Hairspray  is playing at The National Theatre May 10 through May 15, 2022. Parental guidance is suggested  and is recommended for ages 8 and up. Runtime is 2 hours and 30 minutes with one 15 minute intermission. Tickets are on sale now for Washington DC.

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May 19, 2022 at 8:03 pm

We should always learn from history so as not to repeat it. I would love to watch hairspray the musical comedy.

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A stellar ‘Hairspray’ on tour at the National can’t stop the beat

The timeless musical's energy and exuberance are front and center.

This Hairspray was the third go-around for me! I saw the show first on Broadway, with R&B star Tevin Campbell as Seaweed, then at Kennedy Center, and last night at the National.

Each time I was thoroughly entertained, and each time it felt fresh and inspiring. So I was trying to come up with a word that truly expresses my affection for this show and it is rousing !

Because of technical difficulties, there was a 30-minute delay before the curtain, which seemed like an eternity. But the wait was well worth it. The energy and exuberance were front and center and remained throughout the show. You would think my familiarity with the show would render it without the surprises one hopes for in musical theater. However, this performance gave tremendous witness to what talent, expertise, imagination, and highly skilled technical production values can do to “an old chestnut.”

Let’s start with the casting: the lead role of Tracy Turnblad, the plump and cruelly maligned teenager who just wants to be on a local TV dance show was portrayed by Faith Northcutt, the understudy. Seeing her it was hard to imagine how much better the original lead, Niki Metcalf, could possibly be. From Northcutt’s initial appearance getting out of bed and singing “Good Morning Baltimore,” she draws you in with her vocal clarity and melodic playfulness (much like you would expect of a 16-year-old). In the script, Tracy’s physicality brings her scorn and criticism from her peers, showing how senseless and cruel body shaming can be. But the vulnerability Northcutt conveys really underlies her true strength of character. Brava!

The second standout performance is the role of Tracy’s mother, Edna, a more mature version of her daughter. This role was originated by the inimitable Harvey Fierstein, and his brilliance designated drag casting for all future productions. Edna is portrayed by Andrew Levitt, a standout of Season 11 of RuPaul’s Drag Race. His comic sensibility and physical adroitness (for a 6-foot-4-inch man in women’s clothes) are a joy to behold, and the interplay between him and Tracy as well as with Edna’s husband, Wilbur (Christopher Swan), is a touching portrait of familial love, support, and understanding. Wow!

Then there is Motormouth Maybelle (Sandie Lee), a proud, middle-aged Black mother who hosts a dance show for Black teenagers but who is also a proud and stalwart crusader for racial equality in her community. She is authoritative, without being domineering, and is a woman who has learned the hard lessons of racial discrimination. She brings it out forcefully in her beautifully rendered “I Know Where I’ve Been,” a song that gives the show a stirring moment of insight and poignance not generally expected in musicals. Kudos!

Finally, this company of performers is all accomplished as singers, dancers, and definitely actors, and their ensemble enactments are a director’s satisfaction and an audience’s joy. The technical support is equally outstanding. The direction of Matt Lenz, the choreography of Michelle Lynch, the costumes by William Ivey Long, the scenic design by David Rockwell, the wigs and hair design by Paul Huntley and Richard Mawbey, the lighting design by Paul Miller, and the sound design by Shannon Slaton are all top-notch and make the telling of this timeless story all the more believable and meaningful.

It all ends with a celebratory, spirited, and jubilant rendition of “You Can’t Stop the Beat!” Yeah, rousing is just the right word for this stellar production.

Running Time: Approximately two hours 30 minutes, including one intermission.

Hairspray plays through May 15, 2022, on tour at the National Theatre, 1321 Pennsylvania Avenue NW, Washington DC. Evening performances each day are at 7:30 pm. Matinee performances on Saturday and Sunday, May 14 and 15, are at 2 pm. Tickets (starting at $50) are available online .

The Hairspray North American tour cast and creative credits are  here.

COVID Safety:  All guests must provide proof of full vaccination against COVID-19 with a photo ID before entering The National Theatre. For guests under age 12 and those who need a reasonable accommodation for medical reasons or due to a sincerely held religious belief, please review the Frequently Asked Questions at  COVID-19 Info Center  for additional information. Masks are required for all guests, regardless of vaccination status and/or age. Masks must be worn at all times.

SEE ALSO: Broadway at The National to kick off 2022-23 season of hit shows  (season announcement)

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Stage and Cinema

Arts and Entertainment Reviews

Theater Review: HAIRSPRAY (North American Tour)

by Stephen Best on February 3, 2022

in Theater-Chicago , Tours

YOU REALLY CAN’T STOP THE BEAT

There was some major foot stomping, shoulder shimmying and hip swaying happening downtown last night, despite a major snowstorm that dumped half a foot of snow on Chicagoland. The national non-Equity tour of Hairspray the musical has hit the CIBC Theater. This show is so hot, it will melt all this wintery mess and your heart at the same time. Hairspray originally debuted on Broadway in 2002 and went on to win eight Tony Awards in 2003 including Best Musical, Best performance by a Leading Actress in a Musical for Marissa Jaret Winokur, Best Performance by Leading Actor in a Musical for Harvey Fierstein, Best Costume Design and Best Book of a Musical. After a two-year hibernation due to the Covid-19 pandemic, this tour is the perfect musical coming at just the right time.

For those who may have missed this on the Great White Way, this is the closest you are going to get to recapture that magic. It was thrilling again to see Jerry Mitchell’s electrifying original choreography onstage, although the tour choreography is credited to and recreated by Michele Lynch. The show may not be broadcast in CinemaScope but William Ivey Long’s costumes utilize all the alluring “technicolor” of the rainbow. David Rockwell’s scenic design will please and Paul Huntley and Richard Mawbey’s gravity defying wig design more than lives up to the moniker of the show. The only downside, the short two-week stop and a pre-Valentine’s Day departure, but the tour must roll on.

For anyone who may have missed the original 1988 John Walters film, the Broadway musical inspired by the film, the film version of the Broadway musical, and Hairspray Live! on NBC — the story here centers around plucky 16-year-old Tracy Turnblad (Niki Metcalf, in great voice here) and her quest to both be a dancer on a local American Bandstand-type show and, more importantly, to eradicate racism in 1962 Baltimore.

Her overprotective mother, laundry worker Edna Turnblad (Andrew Levitt, better known as RuPaul’s Drag Race ‘s Nina West), is worried they won’t put girls over a certain size on television. Due to her towering “hair-don’t” Tracy ends up in detention where a chance meeting with Seaweed J. Stubbs (Brandon G. Stalling) would change her life. A little forgivable cultural appropriation of choreography later and Tracy impresses both host Corny Collins (a winning Billy Dawson) and teen heartthrob Link Larkin (Will Savarese) while becoming — overnight — the most popular dancer on The Corny Collins Show . The fly in the ointment, the selfish mother/daughter duo, Velma (Addison Garner) and Amber Von Tussle (Gwen Stefani look alike Kaelee Albritton) who may be “Just a Girl” but she launches a one-woman campaign to undermine all things Tracy. The bullying played here is straight for laughs.

The deeper plotline, facing racism head on. Tracy sets out to make certain The Corny Collins Show , and Baltimore as a whole, becomes integrated. “I want every day to be Negro Day” she proclaims to a mix of cheers and gasps. Set in the 60s, her message of tolerance and acceptance is as equally important today. Motormouth Maybelle (Gabriyel Thomas) may share hosting duties with Corny once a month, but nothing is more dynamite than when The Supremes-inspired girl group, The Dynamites (Shante Clarke, Renee Reid, Nichelle Lewis) take center stage during “Welcome to the 60s”, a musical ode to progress. And lest I forget, Penny Pingleton (Emery Henderson), Tracy’s dorky best friend who enters into an interracial relationship with Maybelle’s son, Seaweed.

The book by Mark O’Donnell and Thomas Meehan may have a few too many fat jokes that may not have aged well since the original staging, but the smart, toe-tapping, witty, music and lyrics by Mark Shaiman and Scott Wittman more than make up for any narrative shortcomings. Let’s be honest, it is wonderfully refreshing to see the chubby girl win the guy for a change. When this “heavyweight champion takes the prize” I dare anyone to say Hairspray isn’t just the dynamite needed to blow away any winter blues.

By the end of the opening number, “Good Morning Baltimore” this winning, baby-faced cast of mostly newcomers hits all the right steps, proving this Hairspray still holds solid. Highly recommended, you will shake away all your Covid inspired doldrums with this electrifying show. The only thing contagious here is the fun. Book your tickets today while they still last. This dynamic production rings all the right bells!

photos by Jeremy Daniel

Hairspray national tour reviewed at CIBC Theatre, 18 West Monroe St ( Broadway in Chicago ) ends in Chicago on February 13, 2022 tour continues: for tickets, dates and cities, visit  Hairspray Tour

for more shows, visit  Theatre in Chicago

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Things to do | new ‘hairspray’ national tour sparkles in its post-pandemic san diego relaunch, former old globe chief jack o’brien freshened up his tony-winning direction of race relations-themed musical comedy, presented by broadway san diego.

Although “Hairspray” has been seen many times in San Diego since its 2002 Broadway premiere — both in tours at the Civic and on local theater stages — it feels brand new and perfectly engineered for this moment in time. San Diego is the first stop for this sparkly new touring production, which was given a fresh look and feel by Jack O’Brien, the former artistic chief of San Diego’s Old Globe, who won a Tony Award in 2003 for his work on “Hairspray.”

As always, “Hairspray” is a jubilant, effervescent and very funny musical with a great score by Marc Shaiman and Scott Wittman. But in the wake of the 2020 Black Lives Matter movement, it seems more timely than ever. And its theme of unifying positivity offers a nice break from the combative divisions that have scarred this country over the past five years.

Based on John Waters’ 1988 film of the same name, the musical is the 1962 tale of perky and plump Baltimore teenager Tracy Turnblad, who plots to integrate “The Corny Collins Show,” the city’s all-White TV dance party program. Her progressive ideas horrify the White status quo, but they’re welcomed by Motormouth Maybelle, who hosts the one show each month that a Black host and teen dancers are allowed on the air.

On Wednesday night, the near-capacity crowd at the Civic roared its support during moments of the story when the topic of equality was mentioned. But whenever the character of Motormouth Maybelle — played by Toneisha Harris, the season 18 runner-up on NBC’s “The Voice” competition series — began to sing, the crowd exploded, particularly during her inspiring civil rights-themed ballad “I Know Where I’ve Been.” Harris is a gifted singer who performs with both power and grace.

Another reality TV contestant, Andrew Levitt from season 11 of “RuPaul’s Drag Race,” wins hearts as Tracy’s mom, Edna Turnblad. Levitt, whose drag alter-ego is Nina West, plays the role of frumpy housewife Edna with vulnerability and subtlety. Niki Metcalf’s ebullient performance as the ever-optimistic Tracy gives the show a relentless, bubbly energy. And Brandon G. Stalling is cool and confident as Black teen dance sensation Seaweed J. Stubbs.

The show looks smart, with colorful digital projections, fresh costumes and energetic dance numbers choreographed by Jerry Mitchell, who earned a 2003 Tony nod for his work. O’Brien has added a few topical touches for this tour, including a comic aside that winks at the turmoil of the 2020 election, and there’s even a funny local reference to the city of Escondido. But the show’s themes of prejudice, segregation and racism have always been there in the script, they just feel more timely now than ever.

‘Hairspray’

When: 7:30 p.m. Thursday. 8 p.m. Friday. 2 and 8 p.m. Saturday. 1 and 6:30 p.m. Sunday.

Where: San Diego Civic Theatre, 1100 Third Ave., San Diego.

Tickets: $35 to $120

Online: broadwaysd.com

COVID protocol : Proof of full vaccination required or negative COVID-19 PCR test within 72 hours of showtime or rapid antigen test performed by a medical professional within 12 hours of showtime. Masks required indoors.

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Review: ‘hairspray’ glows with a spunky exuberance at the dolby theatre.

The latest national tour of Hairspray , now playing at the Dolby Theatre through May 21st, is everything one can expect and more from a musical based on the 1960s, right down to its infectious style and civil rights-related substance. It’s visually beautiful, bold, and makes a significant social statement that gleefully co-exists with all the bright-colored costumes and big hair. Most musicals tout either a meaningful message or a lavish presentation, but this Hairspray , like many of its previous stage iterations and the 1988 and 2007 films, has both.

Any production starts with the story, which in this case is cogently written by Mark O’Donnell and Thomas Meehan. It is simultaneously surreal yet steadied by its commentary on racial integration, surrounded by strong motivations, appropriate levity, and larger-than-life characters that leave a forceful impression.

The protagonist is the cheery Tracy Turnblad, a plump girl with tall hair, towering dreams, and a progressive mindset. She and her bestie Penny Pingleton want to audition and join The Corny Collins Show , a hip TV program with primarily Caucasian teenage dancers and contemporary music, led by the eponymous host. However, Penny’s intolerant mom Prudy is simply opposed to this idea while Tracy’s full-bodied mom Edna — unlike her zany and more hopeful dad Wilbur — fears that Tracy might be unfairly bullied if she tries. When Tracy takes her once-in-a-lifetime chance, and grows her status, she meets one of the cast members, Link Larkin, and comes head-to-head with some of the show’s outright racism and opposition to diversity, spearheaded by bigoted producer Velma Von Tussle and her self-centered daughter Amber. More importantly, Tracy attempts to use her newfound station as a voice for change as she befriends several Black characters, including the audacious Motormouth Maybelle (owner of a local record shop and host of her own monthly segment, “Negro Day,” on Collins’ show) and her spirited son Seaweed and daughter Little Inez, among others.

Marc Shaiman’s music (with lyrical help by Scott Wittman) has never sounded so energizing, each drum beat and hook more galvanizing than the next — a credit to Music Supervisor Keith Thompson, Musical Coordinator John Mezzio, Sound Designer Shannon Slaton, Conductor Julius LaFlamme, and Orchestrator Harold Wheeler. Director Matt Lenz has done Jack O’Brien’s original direction justice just as Robbie Roby has captured Jerry Mitchell’s effervescent original choreography, which, in tandem with Paul Miller’s lighting, allows for the gorgeous spotlighting of brief standstill tableaus. Mitchell, incidentally, expressed his satisfaction with the manifestation of his vision at the conclusion of opening night when he took the stage after the final bows.

Hairspray , rife with not just musical theatre’s best pop music, but pastels and a preponderance of pretty colors, is a visual feast. In this production, David Rockwell’s scenic design, replete with a digital screen (the tremendously groovy video design is by Patrick W. Lord) that appropriately only supplements well-crafted moveable prop pieces, including the city of Baltimore and the jail bars during “The Big Dollhouse,” echoes the psychedelic bubbliness and the fashion-fueled confidence of the 1960s. This is further solidified by William Ivey Long’s stunning costumes and Paul Huntley and Bernie Ardia’s wigs and hair, which are undoubtedly deserving of an Ultra Clutch Hairspray sponsorship.

The abundant cast is led by Niki Metcalf who makes for a quintessential Tracy, derided by the musical’s antagonists as a “chubby communist,” whose sunny timbre propels the narrative forward. Metcalf passionately gets across Tracy’s motivation to end segregation on The Corny Collins Show and additionally demonstrates a terrific comic timing as she gawks over Nick Cortazzo’s Link during “I Can Hear the Bells.” Cortazzo, too, has a certain panache as the budding and Elvis-like TV star who indicates promise as a redeemable character despite a reticence to rock the boat and potentially undermine his career.

Tracy’s mom Edna, who suffers from bouts of low self-esteem before her veritable breakout party, is portrayed by Andrew Levitt (renowned as drag queen Nina West) who receives an immediate ovation in his very first scene. Levitt is excellent at not only using a palette of pitches and inflections for comedic effect, but deserves plaudits for patiently steering Edna’s transformation, which blossoms during “Welcome to the ‘60s” — a number that is also notable for the electrifying vocal stylings of Sydney Archibald, Melanie Puente Ervin, and Jade Turner who dazzle in red dresses as The Dynamites.

Levitt’s onstage husband, Wilbur, is played by Ralph Prentice Daniel who emotes a terrific joviality and optimism as the jokester/inventor. The comparatively diminutive Wilbur loves his wife no matter what, a sentiment which is adorably conveyed in Act II’s feel-good and physical humor-filled “(You’re) Timeless to Me.” At one point, as they’re harmonizing, Daniel’s Wilbur goes high and Levitt’s Edna goes low — an unexpected and funny contrast.

The opposition whom the featured characters bravely rail against can be summed up by one Velma, inhabited superbly with sinewy nefariousness by Addison Garner. Velma is bereft of morals and sneers at those who look differently than her; what’s worse is that she’s a showy diva to boot which is perfectly realized in “(The Legend of) Miss Baltimore Crabs,” taken to an entirely new level with impressive baton twirling. In comparison, while Ryahn Evers’ Amber isn’t as evil, she is contently ignorant, oblivious to any problems, and demands Link for herself along with any attention she could seize. Evers cranks up her persona’s annoying factor to eleven so we can’t help but root for her downfall.

Imbuing Hairspray with the most soul is Sandie Lee’s Motormouth Maybelle who has the audience affirming memorable lines like “the bigger the girth, the more you’re worth.” To say that Lee is simply confident in the role would be an understatement; she absolutely commands with her platinum hair as a lightning rod that ignites the fuse of the events that overcome the central conflict. Lee, moreover, earns the heartiest applause when she wins over the crowd with her superbly attuned vocal dynamics in the poignantly hair-raising “I Know Where I’ve Been.” Similarly, Maybelle’s children, Little Inez and Seaweed, are depicted with flair by Joi D. McCoy and Charlie Bryant III, the latter of whom makes his mark with tireless dancing and splits — in mid-air and on the floor — which scintillate the stage in “Run and Tell That.”

As the plaid-clad Penny, Emery Henderson shares a vibrant chemistry with Bryant and is the lovably awkward girl that fans of Hairspray will readily recognize. The same can be said for Emmanuelle Zeesman’s Prudy who is familiarly domineering and a little more than old-fashioned about “race music.” Zeesman, who loses herself in two other characters — the loopy Gym Teacher who can’t stand up straight and the sensual Prison Matron with tap-dancing prowess — is as versatile as any actor there is. Proving his own aptitude for adaptability is Greg Kalafatas whose politically expedient Harriman F. Spritzer, flamboyant Mr. Pinky, drawling Guard, and authoritative high school Principal are all discrete from one another.

The smooth-voiced Billy Dawson convinces as TV-pro Corny Collins, a suave emcee with a conscience and whose animated Council Members charm the stage with their choreographic finesse. Craig First (Brad), Kelly Barberito (Tammy), Tommy Betz (Fender), Carly Haig (Brenda), Mickey White (Sketch), Clint Maddox Thompson (I.Q.), Annie Gagen (Lou Ann) and Helene Britany (Shelley) are underrated for being the “nicest” ensemble one could ask for as they continuously pivot from complex dance routines to even more involved harmonies.

Overall, audience members who experience Hairspray will note an excitement in the air that crescendos at just the right moments as they find themselves living vicariously through a steadfast resistance helmed by its puckish and courageous characters. Not to mention, given how likeable these characters are — in part because they inspire and make us laugh in equal amounts — it feels as if a gravitational force pulls our bodies forward as our hands naturally rise and clap along; this is none more pertinent than during the climactic and catchy “You Can’t Stop the Beat.” Some things, be it an appeal to racial equality, or the acknowledgement that this show is sensational, just can’t be denied.

For more information on Hairspray at the Dolby Theatre, and to purchase tickets, please visit: broadwayinhollywood.com

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You Still Can’t Stop the Beat: A Review of “Hairspray” at Broadway in Chicago

by Dennis Polkow | February 8, 2022

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“Hairspray”

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It’s odd to think of a post-millennium musical as already a bona fide classic, complete with wide appeal across generations and races. But that is what has happened with the now twenty-year old “Hairspray.”

Kids who grew up with this show are now parents bringing their own kids. Songs are mouthed along word-for-word, every dance step is anticipated. Its diverse audience knows exactly what “Hairspray” is and savors every familiar spritz.

Originally a non-musical film by director John Waters, the tale of a teenage girl fighting fat-phobia and crusading for social justice in the early 1960s strikes a chord for those judged merely on size, color or appearance.

Musicalize that struggle with a tuneful, dance-friendly score that stays true to the era yet delivers all of the essential elements of a Broadway blockbuster. Then brightly wrap it all up like a pop-art comic book and you have an engaging, feel-good show with a message.

Few Broadway properties with as many moving parts as “Hairspray” can be effectively brought off by a non-Equity cast without a significant drop-off in quality. But the national tour that opened Wednesday at the CIBC Theatre to a capacity crowd despite a blizzard, manages to traverse the show with momentum and gusto.

The scenery, sets and steps of the original Broadway production are evoked with care, albeit staged and with musical forces on a smaller scale.

Niki Metcalf makes a charming Tracy Turnblad, her energy and charisma contagious from her opening “Good Morning, Baltimore.”

A “Hairspray” tradition is that the role of Edna, Tracy’s mother, be played by a male in tribute to Divine, the late, legendary drag performer who originated the role in John Waters’ 1988 film. Harvey Fierstein created the role on Broadway and reprised it for NBC’s “Hairspray Live!” telecast nearly a decade-and-a-half later, while John Travolta played Edna in the 2007 film.

Andrew Levitt, who has performed as drag performer Nina West for over twenty years, brings more maternal grace to the character than we are used to, without sacrificing any of the comedy. The laughs are with Edna more than at her, a refreshing approach.

Another cast standout is Emery Henderson as Tracy’s friend Penny Pingleton, who brings more to the journey of that initially repressed character than the usual portrayal. And Christopher Swan brings poignancy to the role of Tracy’s father, particularly in his love duet with Edna, “(You’re) Timeless to Me.”

Some of the other roles come off caricature-ish, but the voltage is high in the show’s signature ensemble numbers.

Through February 13, CIBC Theatre, 18 West Monroe; (312)977-1700.

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JULY 2024: VERA

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Despite talented cast, delightful score, ‘Hairspray’ loses some of its luster in out-of-style reboot

In its final 10 minutes or so, the cast’s enthusiastic shaking and shimmying will invariably have the audience on its feet. if only the rest of “hairspray” held up as well..

Tracy Turnblad (Niki Metcalf) greets the day with a rousing “Good Morning, Baltimore” in the national touring production of “Hairspray,” now playing at the CIBC Theatre.

Jeremy Daniel

The national tour of “Hairspray” running through Feb. 13 at the CIBC Theatre uses essentially the same staging as the eight-time 2003 Tony Award-winning musical that debuted roughly 19 years ago on Broadway. But while director Matt Lenz and choreographer Michele Lynch used original director/choreographer duo Jack O’Brien and Jerry Mitchell’s work as their template, the reboot comes across as a copy of a copy of a copy. As for the show itself (based on the 1988 movie musical of the same name by John Waters) it hasn’t aged as gracefully as you might think.

Thankfully, the cast’s joyous energy radiates from the stage so powerfully you’ll be tempted to buy what they’re selling, cartoonishly slapdash wigs and all.

The 1962-set plot centers on 16-year-old Tracy Turnblad (Niki Metcalf, an exuberant delight throughout), who we meet as she welcomes the day in her beloved Baltimore, greeting the neighborhood flashers and alcoholics as she skips to school. Tracy and her best friend Penny Pingleton (Emery Henderson) are obsessed with “The Corny Collins Show,” an “American Bandstand”-like program where the “nicest kids in town” do the latest dances every week while Corny (Billy Dawson) makes like Dick Clark. The station allows “Negro Day” once a month, but otherwise, “The Corny Collins Show” is whiter than a box of Q-tips, exactly how its racist producer and washed-up beauty queen Velma Von Tussle (Addison Garner) wants it.

After landing in detention with some of the best dancers featured on Negro Day, Tracy enlists her new Black friend Seaweed Stubbs, (Brandon G. Stalling, showing off “Soul Train”-worthy moves) to help integrate Corny’s show. Meanwhile, Seaweed and Penny fall in love, undeterred by radio celebrity Motormouth Maybelle’s (Gabriyel Thomas, ably delivering the anthemic “I Know Where I’ve Been”) warning that the world won’t make life easy for an interracial couple. As Tracy finds a love interest in hunky Link Larkin (Will Savarese), Tracy’s mother Edna (Andrew Levitt) frets that her daughter will inevitably be heartbroken by a world that doesn’t make room for plus-size women like the Turnblads.

Mea Wilkerson (as Cindy Watkins, from left), Kaléa Leverette as Little Inez, and Brandon G. Stalling as Seaweed J. Stubbs are shown in a scene from the national touring production of “Hairspray” at the CIBC Theater.

Lenz’s ensemble is very young, and while their raw talent is evident, it doesn’t feel like Lenz gave the group much direction: The acting styles run the gamut from shrill to over-the-top, both at their most excessive in a scene where Penny’s prudish mother (Emmanuelle Zeesman) aggressively throws herself at Seaweed, tongue slavering and hips grinding so insistently he’s forced to flee. Key lines such as Motormouth’s warning that Seaweed and Penny are in for “a whole lot of ugly from a never-ending parade of stupid” are thrown away rather than emphasized. The pacing alternates between rushed and laborious.

And while Marc Shaiman’s score remains a poppy, doo-woppy delight, the dialogue (book by Mark O’Donnell and Thomas Meehan) is cringe-inducing at times, such as when “Special Ed” is used repeatedly as a punchline. The production shows its wear in other ways as well: The chorus is thinly stretched. David Rockwell’s set is below-bare-bones. Many of the costumes (by William Ivey Long) are poorly tailored. And those wigs by Paul Huntley and Richard Mawbey remain atrocious throughout.

Tracy Turnblad (Niki Metcalf, from left), Edna Turnblad (Andrew Levitt, aka Nina West) and the company perform “Welcome to the ’60s” in the national touring production of “Hairspray.”

For all that, “Hairspray” has a few key elements that are terrific. Foremost among them is Levitt as Tracy’s mother Edna. The role has traditionally been performed in drag ever since the late, great Divine originated it for Waters. To the pantheon of Great Ednas that includes John Travolta, Harvey Fierstein and Bruce Vilanch, we can now add Levitt, who, as Nina West, won the title of “Miss Congeniality” in the 11th season of “Ru Paul’s Drag Race.”

When Edna talks about how people “like us” aren’t embraced by the world, it’s more than a little wrenching. And when she finally ditches the drab house dresses and dons a swirly, feathery hot pink concoction, you can all but feel the elation rolling in waves from the stage.

And in its final 10 minutes or so, the cast’s enthusiastic shaking and shimmying will invariably have the audience on its feet. If only the rest of “Hairspray” held up as well.

The Broadway Edit

On Tour: Hairspray

We’re twisting and shouting and going all the way back to the 60s to talk about Hairspray on tour!

If you’re new you’re new to my blog, you might not know that Hairspray was like a gateway to musical theatre for me growing up. When I was young, most of my exposure to musical theatre came through movie musicals, and I was enamored with the 2007 film adaptation of Hairspray like no other.

Hairspray became a pivotal piece in my love for musicals and live theatre, and it has such a special place in my heart. I used to play the CD of the cast album every morning while I got ready for school and every night while I was doing homework. Hairspray was one of the first musicals I knew of that had that big Broadway feel, and I wanted more.

I sadly never had the opportunity to see the stage version either on Broadway or on tour. It was just not feasible at the time. So I’m really glad I was able to catch this new tour because it really felt like a moment that I was seeing it equally as an adult and as the 12-year-old girl who used to dance around her room to “Good Morning Baltimore” and “Mama I’m A Big Girl Now.”

I am very familiar with the movie, so I was a little bit surprised to see what they changed from the stage adaptation for the film. For one thing, I was surprised by how small and minimalistic some of the sets were. Granted, this is a non-union tour, which means they probably travel more cost-effectively with smaller set pieces, but still, it was a point I found interesting. Especially in more recent years, we’ve seen this film vs. stage debate where more minimalistic musicals are getting full set backdrops for film and it’s changing the feeling of the movie musical (a la Dear Evan Hansen or Everybody’s Talking About Jamie ). I was surprised to see fewer scenes in Hairspray taking place at the school and almost entirely taking place at the studio. I always felt like the movie showed them at school as one of the main settings of the story, and it was strange to see the plot revolve around the TV studio.

I am also surprised how much I enjoyed “The Big Dollhouse” and how I had no idea about it because it was cut from the film. When the movie came out, I remember there being grumblings that “The Big Dollhouse” was cut, and I could finally see why, opening the second act on a big, jazzy dance number.

This brings me to talk about how I also really love the camp elements of Hairspray . Now when I say Hairspray left an impression on me growing up, I think it not only was an impression on musical theatre but also an appreciation for campy media. The original Hairspray film—on which the stage musical is based— is a John Waters film, for which Waters has been known to use elements of camp in his work. I feel this is something I have gained an appreciation for and especially in musicals always love to see the over-the-top and outrageous elements used on stage.

It was interesting to watch this show that was very popular in the early 00s after nearly two decades. I feel like when I watch these types of shows that were written in the early 2000s or are based on media from the 80s, there is a level of understanding of the humor that was used in the book and lyrics that is reflective of the period for which it was written. However, I think Hairspray is also a piece that is intentionally uncomfortable because it forces the audience to sit with that discomfort. Of course, it does approach the discomfort with comedy, but I think it uses humor to soften the blow of discomfort.

Is Hairspray perfect? No, of course not. But I think even though it is a comedy, it forces you as an audience member to reckon with the fact that this was a reality in the United States not that long ago. I say that as a 20-something, but I am sure there are audience members for who this is in their living memory.

Now let’s dig into this cast because the cast putting their hearts into these characters is what makes this show a blast.

We can’t talk about Hairspray without our Tracy Turnblad, Niki Metcalf . Metcalf brings Tracy to life with charm and poignant humor. This show lives and breathes on Tracy, and Metcalf carries the story so well. This is now over a year into the tour, and you can tell Metcalf wears this character with ease after nearly 200 performances on tour. I loved her spunky “Good Morning Baltimore,” heartfelt “I Can Hear the Bells,” and crowd favorite “Mama, I’m a Big Girl Now.”

Andrew Levitt (aka Nina West) gave a standout performance as Edna Turnblad. I thought he did a fantastic job capturing Edna’s worries and her love for Tracy. I felt like the musical version of Edna was much softer and more understanding than the Travolta version of the character from the film, which was surprising to me. I also love how much more supporting Levitt’s Edna was to Tracy. Levitt has great on-stage chemistry with both Metcalf and Ralph Prentice Daniel (Wilbur Turnblad), and “You’re Timeless to Me” was an audience favorite.

Emery Henderson gave a standout performance as Tracy Turnblad’s punchy best friend, Penny Pingleton. Henderson was one of my favorite performers to watch on stage and she had impeccable comedic timing. I loved watching her interactions with Charlie Bryant III , playing Penny’s heartthrob, Seaweed J. Stubbs. Emmanuelle Zeesman , who carries a handful of characters in the show with such ease, also excelled with Handerson as Penny’s overbearing mother, Prudy Pingleton.

I am so happy I was able to see this show! The nostalgia and good laughs it brings were much needed, and it feels like accomplishing a little childhood dream of mine.

You can still catch Hairspray on tour! Check out HairsprayTour.com for more info.

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The Stages of MN

Hairspray is a Blast From the Past and One Hair of a Good Time at the Ordway in St. Paul

It was just over a year ago that the Hairspray National tour came through town running at the Orpheum in January 2023. Due to the opening night of this run, at the Ordway Center for Performing Arts this time, being cancelled thus shortening the run, I am reusing some elements from my previous review, particularly the plot synopsis. I had a blast last winter and I had an equally great time this… shall we call it spring? The show packs an important message about acceptance on multiple fronts utilizing the techniques pioneered by Mary Poppins they add some sugar to make the lesson seem like fun. This is such a big hearted show, the ignorant and hateful characters are very blunt, but they are the minority, the majority just don’t seem to see with eyes of hate. Is that realistic for Baltimore in 1962 where and when the musical takes place? No. But the characters also break into song and dance around a lot so I’m guessing it’s meant to be a bit of a fantasy. This is a show that is meant to entertain you with toe tappin’ music, some fabulous footwork, and a whole lot of humor and on those terms it is wildly successful. If they sneak a little reminder in there that it doesn’t matter what we look like on the outside it’s what’s on the inside that counts, well good for them. I can’t think of a simpler or more important message to send out into the world. I just wonder at a world, that needs to be told that.

Hairspray follows Tracy Turnblad who dreams of being one of the dancers on the Corny Collins Show , a local TV program that features kids dancing to the latest pop chart songs. When an opening on the show becomes available, Tracy skips school with her friend Penny in order to audition, against her mother Edna’s wishes. The resident Teen Diva Amber Von Tussle who is the daughter of the shows producer Velma Von Tussle, ridicules Tracy over her weight and she’s refused the chance to audition. Back in school during detention she strikes up a friendship with Seaweed, a black student and son of Motormouth Maybelle who hosts the “Negro Day” on The Corny Collins Show and bond over dance moves. When Corny Collins comes to their high school for the Sophomore Hop, Tracy wows him with the dance moves she’s learned from Seaweed and he awards her a spot on his show. After her first broadcast, not only has she fallen in love with Link Larkin the resident teen heartthrob, and Amber’s boyfriend, but she becomes a local celebrity. Tracy’s dream was to become a dancer on the show but she also wants to integrate the broadcast so that the black and white kids can all dance together. Her success leads her mother to reassess whether or not there’s a place for people of her and Tracy’s size out in the world. They deal with some fairly heavy issues, race, being marginalized due to weight, self esteem, corruption, hell nearly every woman in it winds up behind bars at one point, but they do it with humor and optimism. It’s Tracy’s heart that never stops fighting for what is right that changes everyone around her.

Caroline Eiseman makes a great Tracy, her vocals get drowned out by a slightly off balance sound mix, which did seem to improve as the night progressed. One thing that couldn’t be drowned out were her dance moves and her infectious can do attitude, both of which win over her fellow characters as well as the audience. As Tracy’s mother Edna we have Greg Kalafatas following in the long tradition of the character being played by a man in drag. This dates back to Hairspray’s roots the 1988 John Waters film in which the role was played by the Divine (Harris Glen Milstead) who sadly passed away less than two weeks after that films release. It’s a character full of insecurities who grows in her own confidence as she watches her daughter carry on in the face of ignorance. The character is used for comic relief, but she also contains a lot of what is beautiful about the entire show. A willingness to change and a capacity to love. Kalafatas handles both aspects wonderfully, know when to be funny and knowing when to show a little bit of vulnerability. You may have noticed that the photo I chose doesn’t highlight Tracy, that’s not because she isn’t the focus of the show, she is . But I wanted to highlight Deidre Lang because her performance as Motormouth Maybelle, though supporting, was exceptional. Her rallying of the kids to not give up after their first setback which ends with her song “ I Know Where I’ve Been ” is a show stopper. Her vocals are simply incredible, and you suddenly wish she had three other solo songs in the show. Another favorite in a show full of great dances, choreographed by Robbie Roby, was Josiah Rogers as Seaweed, that man has some moves. His love interest Penny was also a favorite character thanks to the performance by Scarlett Jacques, whose got fantastic comic timing.

Hairspray runs through March 17th at the Ordway Center For Performing Arts in St Paul. For more information and to purchase tickets go to https://ordway.org/events/hairspray/ . Due to the cancellation of the planned opening night performance the remainder of the run has limited availability. I urge you not to wait to get tickets, it could very well sell out.

Don’t want to miss a single review from The Stages of MN? You can subscribe and have every post sent directly to your email. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/

I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers . We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.

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Hairspray Tour Video

Season 3 fun facts about the hairspray tour, what to expect at hairspray.

“BRAND NEW, PERFECT AND MORE TIMELY NOW THAN EVER” Pam Kragen,  The San Diego Union-Tribune

HAIRSPRAY and World Premiere of TRICK! THE MUSICAL Lead Out Front Theatre Company's 2024/25 Season

Season memberships and single tickets to Out Front's ninth season will go on sale July 1st.

Out Front Theatre Company  has announced its 2024/25 season lineup. The company's ninth season will feature a Tony Award-winning beloved musical, a campy holiday mystery, incredible plays new to Atlanta, and the world premiere stage adaptation of a 1990's queer cult-classic film.

LATEST NEWS

"As we embark on our ninth season, we are thrilled to continue bringing stories to the stage that celebrate the diversity and vibrancy of our LGBTQIA+ community," says Paul Conroy, Founder and Producing Artistic Director. "This season, we are proud to present an array of joyful and accepting experiences on our stage, including a Tony-Award-winning powerhouse, a campy holiday romp, two exciting and hilariously heartwarming plays, and a world premiere musical based on an adored queer film. Now is the perfect time for us to escape into the world of theatre, where stories offer smiles, dancing, and a whole lot of laughter. We are so excited to present a season so familiar to our queer community: one of found families, inclusivity, and joy.

Out Front's 2024-25 season will open with the Tony Award-winning musical HAIRSPRAY, with book by Thomas Meehan and Mark O'Donnell, music by Marc Shaiman , lyrics by Marc Shaiman and Scott Wittman , and based on the New Line Cinema film written and directed by John Waters . It's 1962 in Baltimore, and the lovable plus-size teen, Tracy Turnblad, has only one desire - to dance on the popular "Corny Collins Show." When her dream comes true, Tracy is transformed from social outcast to sudden star. She must use her newfound power to dethrone the reigning Teen Queen, win the affections of heartthrob, Link Larkin, and integrate a TV network... all without denting her 'do! HAIRSPRAY will run October 24-November 9, 2024.

HAIRSPRAY is the winner of eight Tony Awards, including Best Musical. This family-friendly musical, piled bouffant-high with laughter, romance and deliriously tuneful songs, makes its return to Atlanta this fall. "Hairspray has had a long life in theaters all across the world, and we could not be more excited to bring it back for Atlanta audiences to dance and sing along to," says Justin Kalin, Associate Artistic Director of Out Front. "This is a beloved musical and story for the queer community, and we're ready to welcome everyone back into the 60s in a way that we don't think they have seen before."

To celebrate the holidays, Out Front will present MURDER ON THE POLAR EXPRESS by Ryan Landry , a hilarious holiday mystery filled with greed, deception, eggnog, and festive bloodshed! Following "The World's Foremost Drag Detective" Shirley Holmes and her sidekick Dr. Jody Watley , the dynamic duo investigate a festive psycho killer as they travel en route to the North Pole. Murder on the Polar Express will run December 12-22, 2024.

Kicking off 2025, Out Front will stage the Southeastern Premiere of AT THE WEDDING by Bryna Turner . In this raucous and bittersweet comedy, a woman named Carlo guides the audience through her ex-girlfriend's wedding, to a man, and talks to several friends and family members about love, life, and how to cope with both. AT THE WEDDING will run January 30-February 15, 2025.

Out Front will then present the hilarious play IMMEDIATE FAMILY by Paul Oakley Stovall . The Bryant family reunion takes a comedic turn when the middle son brings home his Swedish boyfriend and tosses him into a stew of family dysfunctions. Race, sexuality and religion are on the menu as 'Modern Family' meets 'Guess Who's Coming to Dinner'. IMMEDIATE FAMILY will run March 13-29, 2025.

Finally, to conclude their season, Out Front will present the World Premiere of TRICK! THE MUSICAL, with book & lyrics by Jason Schafer , music by David Gursky, and based on the original screenplay by Jason Schafer from the 1999 film 'Trick' starring Christian Campbell and Tori Spelling . When an office-temp and aspiring Broadway songwriter meets a hunky go-go dancer at a Manhattan gay club, their one-night stand turns into a series of complications. Amidst the chaos, they plunge into a vibrant world of dancers, piano bars, surprise therapy sessions, and fierce drag queens, all while questioning if love can outshine today's hookup culture. TRICK! THE MUSICAL will make its world premiere staging at Out Front from May 1-17, 2025.

Based on the cult-classic film, this sensational world premiere musical follows the misadventures of two young men trying to make it in the city. "When Producing Artistic Director Paul Conroy inquired about Trick as a stage musical, the stars aligned," says Jason Schafer , who wrote the book and lyrics for this stage adaptation, and also wrote the original screenplay for the 1999 film. "Picturing this show on the stages of companies like Out Front Theatre unlocked for me a creative approach that has guided me during my collaboration on this adaptation with composer David Gursky . Musical Theater was my first love. I've had a blast revisiting the story of 'Trick' and reimagining it as the tuneful, queer, romantic stage musical of its hero's dreams... with a little tap dancing."

Season memberships and single tickets to Out Front's ninth season will go on sale July 1st. Please visit www.OutFrontTheatre.com for more information.

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