BWW Reviews: New Line Theatre Presents Rockin' Production of CRY-BABY

Cry-Baby is a smash, a musical and cultural send up of drape and square mores, while at the same time, a parody of the typical "boy meets girl, boy loses girl, boy gets girl back" scenarios that we've all been exposed to in more traditional shows. At times, it's like watching a throwdown between Little Richard and Pat Boone over who really sings "Good Golly, Miss Molly" the best and most authentic. And, at other times, it's a completely over the top take off on shows of the past. For some reason, I was reminded of both The Music Man and West Side Story. Scott Miller and New Line Theatre have once again given us something outside the norm, and it's a joyous ride. This revision of Cry-Baby (I confess, I didn't see it on Broadway) is a sheer delight, full of characters and situations from the movie by filmmaker John Waters, but also standing on its own with a clever and hilarious score (music and lyrics by David Javerbaum and Adam Schlesinger), having jettisoned the tunes from the film itself. Go see this play now. It's wonderfully directed, smartly choreographed, and marvelously acted.

From the minute their eyes meet at a polio vaccination gathering at the local park, Cry-Baby and Allison are in love. But, Cry-Baby's from the wrong side of the tracks, and he's a rock and roll singing drape, while Allison is totally straight and "promised" to Baldwin, lead singer of the Wiffles. Naturally, conflict ensues, and a make-out session followed by a sudden fire lands Cry-Baby and company in juvenile jail. A breakout leads to a happy and satisfyingly crazy ending.

Ryan Foizey is solid as Wade "Cry-Baby" Walker, and he's well-matched with Taylor Pietz, who is positively terrific as Allison. Both share a number of songs, with"Baby, Baby, Baby, Baby (Baby, Baby" being a particular favorite of mine, but Pietz is remarkably impressive throughout. Mike Dowdy is sinister and amusing as Baldwin, and he's especially good singing the square Whiffle tunes with his co-horts (Evan Fornachon, Devon A.A. Norris, and Christopher Stawhun.

Cindy Duggan is quite good as Allison's grandmother, who has a nasty skeleton in her closet, and Ari Scott is smooth as silk as the sweet singing Dupree. Marcy Wiegert, Chrissy Young, and Sarah Porter are all excellent as the Drape Girls; Pepper, Wanda and Mona "Hatchet Face" Malnorowski, respectively. But, it's Terrie Carolan, and her portrait of the Cry-Baby obsessed Lenora Frigid, that really steals the show. Carolan is a riot, and literally brings down the house when she sings/screams her way through "Screw Loose". Zachary Allen Farmer contributes nicely in just about every other role, and Jenifer Sabbert and Alexandra Taylor neatly switch between square and drape girls depending on the situation.

Director Scott Miller does exemplary work here. The acting is all first rate, and he's aided greatly by the superb job that choreographer Robin Michelle Berger does. This is a show that moves and moves quickly. Amy Kelly contributes costumes that are good fits for each character, and Sean Savoie does fine work lighting the show and giving it a real mood. Scott Schoonover's changeable scenic design also works to capture the right feel for this piece.

The band also deserves a lot of credit and includes: Justin Smolik (piano/conductor), D. Mike Bauer (lead guitar), Joe Isaacs (rhythm guitar), Dave Hall (bass), and Clancy Newell (percussion).

This review is a rave because this a rockin' good show! Go see Cry-Baby and enjoy! This production continues through March 24th, 2012 at the Washington University South Campus Theatre.

 

 

 

 

 

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