Review: MAMA, I'M A BIG GIRL NOW at The Wallis Annenberg Center for The Performing Arts

A cabaret show celebrating three stars of Hairspray could be a lot of things, and as a casual (as opposed to die-hard) fan of the musical, I was open to see what the evening had in store. When the curtains at the Bram Goldsmith Theater parted to reveal Marissa Jaret Winokur, Kerry Butler, and Laura Bell Bundy dripping in sequins from head to toe, I think the entire audience sat in equally hopeful uncertainty, unsure of what the next few hours would hold but expectant for a good show. As the Ramone C. Cortines School of the Visual and Performing Arts student choir backed the trio on the titular ‘Mama, I’m a Big Girl Now’, the bubbly spunkiness and lighthearted banter between the group was quickly established.

Soon, in a meticulously scripted and carefully crafted medley of songs, the performers highlighted the highs and lows of their careers, illustrating their individual paths to Hairspray and sharing anecdotes of their vastly different lives since the closing of the show. Each performed songs from roles they originated or performed on Broadway while also taking turns channeling cabaret legends like Ethel Merman, Julie Andrews, Barbra Streisand, and Judy Garland.

Bundy of course had the audience in the palm of her hand as she performed a rousing series of songs from Legally Blond, the role for which she is perhaps best known. However, throughout the performance, she displayed a huge range, performing a song from Ruthless a la Britney Spears and bringing freshly humorous gags to a rendition of ‘Popular’. In an earnest series of songs homaging Disney’s princesses, Butler mined impressive humanity from familiar tunes, highlighting the nuances within Ashman’s lyrics and Menken’s scores. Each time she embarked upon another Hairspray tune, it became apparent Winokur was born to play Tracy Turnblad. While she may not have the same diversified resume as her costars, her distinctive voice and characterization are so inimitably her that it seems she has left a stamp on musical theatre history akin to Streisand’s Fanny Brice and Channing’s Dolly Gallagher Levi. When the three sat down and shared impactful stories about their experiences as mothers, an air of genuine gratitude undercut the overall levity of the performance.

Upon leaving the theatre, my main query was, where are the new roles for these performers? They each lead such impressive careers as young artists, but are we supposed to sit around and wait for them to age into playing Mama Rose to see them headline a show again? Don’t get me wrong, as told throughout the show, each has lead a fulfilling and exciting life since originating Tracy, Amber, and Penny, but their successes in this performance highlighted for me the lack of industry opportunity for actresses in their 40s and 50s.

Aided by a table full of props and a few key costume pieces, this show is an airtight, laugh-a-minute entertainment which culminates in a rousing rendition of ‘You Can’t Stop the Beat’ (for which they even pulled Ricki Lake up on stage)! As it launches its New York run, I hope audiences turn out in droves to bask in the heartfelt joy and oodles of talent being shared by three dynamite performers.

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