Review: Hairspray is a Dynamite Hit at The Woodlawn Theatre

There is something magical about watching a musical during the final weekend of a show. The company becomes fully integrated in the show and the audience gets to experience art come to life, amplified by months of rehearsal and weeks of applause-fueled performances. The Woodlawn Theatre's performance of Hairspray on Friday, March 25th was a beautiful living art piece that captured the fun campy style of John Waters creation, while also emphasizing the importance of the Civil Rights movement.

Under the direction of Executive Artist Director, Christopher Rodriguez, the musical opened with a vignette, giving the audience a glimpse at a typical day in Baltimore, 1962. Projections, designed by Benjamin Farrar, shifted from a bright colorful Hairspray logo to a cityscape with the words "Baltimore 1962" written on the walls. The ensemble crossed the stage for small scenes that introduced their characters as "the Bum on his Bar stool" or "the Flasher who lives next door." The scenes emphasized the racial discrimination of the time, reminding the audience of the realities of the past.

From the vignettes, we jump head first into everything we love about Hairspray. When the band, led by Jane Haas, began "Good Morning, Baltimore," the whole room shifted into 1960s pop. Chandler Osella's Tracy Turnblad was a delight. She lit up the stage from the moment she walked on, and fully owned the role throughout. When partnered with the charm, moves, and crooning voice of LJ Salinas III as Link Larkin, the audience was truly captivated. The two worked so well together. However, these two were not the only captivating couples on the stage; Edna (Ray Seams) and Wilbur Turnblad (Marshall Chase) were not only perfect in their comedic timing, but they also brought heart into their peace that reminded us all what love looks like.

Penny Pingleton played by Lauren Campion was a standout. She effortlessly captured the awkward tendencies of the nerdy, restricted girl's journey to independence. Isaiah C. Robinson as Seaweed J. Stubbs complemented her goofiness with the confidence of someone who has faced troubles but still sees the bright side of life. His performance balanced optimism and caution beautifully.

As to be expected the audience loved to hate the women of the Von Tussle family. Sarah Stockton's Amber Von Tussle was a good balance of ditziness and indignation, reminiscent of Veruca Salt. Velma Von Tussle (Beth Erwin) was everything you'd expected from an upbeat pop musical villain. She nailed not only the vocals, but the swagger and pompous attitude one would expect from a former Ms. Baltimore Crabs.

There is one moment, as to be expected, in this show that is an absolute show stopper and that is Motormouth Maybelle's 'I Know Where I've Been". Not only did Debra Elana bring the house down with her vocal stylings, but she also beautifully captured the maternal nature of Motormouth Maybelle. This scene was enhanced by the addition of projected newspaper articles that chronicled the events of the Civil Rights Movement, which left the audience simultaneously in tears and cheering.

The trouble with a wonderful production is that there are so many people who help to make that production so special. However, this ensemble did not disappoint. Between the "Nicest Kids in Town" and "Motormouth's Kids" every scene not only was brought to life, but was so smooth that the comedy seemed effortless. Their mastery of the "one liner" left the audience laughing throughout. At one point during the dodgeball scene, Fender, played by Erin Conway, says "Here comes Special Ed. Snicker Snicker Snicker," and I audibly giggled at the commitment to the end of that line. The ensemble truly projected the joy, pain, and struggle of this piece excellently.

While the ensemble truly stole the show, there were also two standouts whose skills were emphasized by their ability to assume multiple characters in rapid succession. Nicole Rey Phoenix who played Prudy Pingleton, Gym Teacher, and Matron provided three distinctly different characters who each had their own quirks, which made the audience fall in love with her. For me, it was the strong accent she had as the Matron that stood out the most. Spencer Scruggs, who played Mr. Pinky, Principal and Spritzer, was equally dynamic in each of his characters ranging from a stern and racist police officer to the over the top Mr. Pinky.

How can I discuss "dynamic" without talking about the Dynamites (Nerryl Williams, Myles Harris, Regina Burpo)? These folks received applause before they even opened their mouths. Their vocals were so on point that it might as well have been a 1960s recording. The joy on their faces as they were singing and the stunning costumes designed by Rose Kennedy had the audience clapping along, reminding me of the exuberance of a concert. A special shout out should go to Hair and Makeup Designer Brandi Stillwell for capturing every iconic look you'd expect from Hairspray.

Speaking of iconic, set designer Benjamin Grabill knows how to keep the audience on their toes. His use of hidden set pieces within a unit set made you forget that the street scene was in the background the entire show. Walls would open with a new scene behind them accented by moving scenery from the wings. Seeing the set utilized to is fullest capacity was like watching a dance.

Hairspray at the Woodlawn Theatre is everything you'd expect from the campy musical and more. At the end of the show, the audience was up and dancing with the ensemble, truly immersed in the joy expressed by the cast. I, for one, left the theatre hopeful for the future. I look forward to seeing what's next for The Woodlawn Theatre.

CHECKOUT THE WOODLAWN THEATRE'S UPCOMING SEASON

The Little Mermaid June 17th - July 10th

A Chorus Line August 12th - September 4th

The Color Purple September 30th - October 23rd

White Christmas November 25th - December 23rd

Tickets and season passes can be purchased at The Woodlawn Theatre's website.

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