Review: HAIRSPRAY at Paramount Theater

HAIRSPRAY is a toe-tapping, dance in your seat, good time show with a message we still need to hear. With an audience who came ready for a party, the show hummed along with enthusiastic support from the crowd. With catchy tunes, over-the-top characters, and energetic dance numbers, HAIRSPRAY is a whirl of excitement. Beyond the flash, the show has a poignant message of inclusion, self-worth, and acceptance.

HAIRSPRAY follows the story of Tracy Turnblad, a curvy teen who is obsessed with the dancers on Corny Collin's televsion show. When an opportunity arises, she jumps at the chance to audition for an open spot on the show. She is almost laughed out of the room by the producer Velma Von Tussle and her daughter and current dancer on the show, Amber. Only one current dancer, Link Larkin, the dreamboat, demonstrates any sort of kindness. Back at school, Tracy meets some great dancers while in detention. They teach her some of their moves which end up landing Tracy the coveted spot on the show. Tracy rocks the boat during her first interview as a dancer by stating that she would make every day Negro Day as currently Negro dancers are only allowed on the show one day a month. When Tracy's efforts to integrate the show land them all in jail, Tracy must make some hard decisions about continuing the fight for equality.

The show is helmed by Niki Metcalf as Tracy Turnblad who brings the typical spunk and sass to the character. Andrew Levitt (AKA Nina West) as Edna Turnblad is a slow burn that turns to ghost pepper hotness by the end of the show. With charm, humor, and the sweetest touch of vulnerability, Levitt makes Edna into a real woman and not just a caricature. Lauren Johnson as Motormouth Maybelle delivers a punch with her vocal prowess and the power in the message of her songs. Ryahn Evers portrays Amber Von Tussle with layers of neediness and obnoxiousness. Seaweed J. Stubbs played by Charlie Bryant III was a standout for me. His charisma and infectious smile stole more than one scene. Another unexpected delight was Emery Henderson's elevation of Penny Pingleton from mere sidekick to fully formed character with her own story arc. Henderson's allure grew with her character throughout the show. The Dynamites (Sydney Archibald, Melanie Puete Ervin, and Jade Turner) provided the first wow moment of the night. Emmanuelle Zeeman pulled triple duty playing Prudy Pingleton, Gym Teacher, and Matron. Her performance as Prudy was by far her strongest. While the Gym Teacher got some laughs, it is perhaps time to rethink some of those jokes that just don't sit well with modern audiences. The Matron is a funny bit that came off a bit awkward. The other surprise of the night was Ralph Prentice Daniel as Wilbur Turnblad whose lovely voice and manner made the most of an unassuming character. The ensemble pulled off hot-stepping choreography, many while balancing some massive wigs. And their contribution to creating a high-energy show should not be overlooked.

Robbie Roby's choreography was a shining star in the show. HAIRSPRAY would not be HAIRSPRAY without its peppy and classic moves. David Rockwell's scenic design used flats to create a signature look that moved from scene to scene giving the show a solid cohesive visual effect that was playful and fun. His work combines easily with the Tour Lighting Design of Paul Miller and Video Design by Patrick W. Lord. The result is a visual spectacle that uses every inch of the stage floor to ceiling. Costume Design by William Ivey Long is colorful, playful, and full of rich details. Every character is created with great care and detail that give each one an individual look and style yet mesh together as a whole. Wigs & Hair Design by Paul Huntley and Bernie Ardia reach for the limits of what's possible. The whimsy and fun of their work add another element to the richness of the show. Director Matt Lenz keeps the show clipping along at a nice pace and allows it to come to a screeching halt for a long, slow turn of the head when needed. The punctuated pauses are used to great effect and milked the moment as the audience whistled and clapped waiting for what they knew was coming next. The blocking and movement of the show is natural and never forced which allows you to stay embedded in the story.

Hairspray has been a musical beloved by fans for quite some times. All of the elements that caused us to love it in the first place still exist. And unfortunately the need to discuss inequality, fat-shaming, and exclusion still exist too. However, it may be time for HAIRSPRAY to find a way to refresh the framing of its story lest it get lost from white savior complex. Tracy Turnblad is a great character for legitimizing the need for all body types to be represented on stage and expanding how we define who can be a dancer. However, the battle for integrating the show should have more leadership from the Black characters, and Tracy should follow their lead. The jokes about special ed and gym teachers asking students to shower are well past their prime and need to go. With a few edits, the show could continue to be relevant and bring the magic of its music to generations to come. HAIRSPRAY is full of energy, great music and dancing, some key messages, and a few old jokes.

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