Hairspray: Big Hair, Bigger Fun!

◊◊◊◊◊ out of five.  Contains mild adult humor and sexuality.  2 hours, 30 minutes, including intermission. 

The frequent roar heard last night by West Side residents around Eutaw Street wasn't a crowd at M & T Stadium.  And it wasn't Inner Harbor fireworks or even a manhole cover explosion.  It was the delighted cheers and screams of the opening night audience at Hairspray, currently playing a one week engagement at the Hippodrome Theatre.   

In the interest of full disclosure, I am a huge Hairspray fan - any version.  I even recently saw the Broadway cast, so it remains fresh in my mind.  There, in New York, I remember being so impressed at how sharp and vibrant the show looked - and that company is in amazing shape, five plus years into their Tony-winning run.  But I will admit to some preconceived ideas about this company, a non-Equity tour (they are getting paid, but they are not part of the professional actors union), especially given the lack of quality of the recent Wedding Singer tour.  Well, I will state it unequivocally: All of those cheers and ovations were very well-deserved, earned by a fresh, young cast who are as good as, and frequently better than, their current Broadway counterparts. 

Yes, this version is somewhat pared-down.  There is considerably less scenery, and most of it is not automated, necessitating onstage personnel to move and place large set pieces.  But don't miss-read "pared-down" for "cheesy" or "lack of quality."  The entire design - set, costumes and lighting - remain faithful to the originals by David Rockwell, William Ivey Long and Kenneth Posner, respectively.  In fact, in this case less is more.  The company doesn't get lost amongst the clutter of a full stage; they are actually more highlighted this way.  And necessity is the mother of invention - the "nicest kids in town" double as scenery movers and are so integrated (no pun intended) into the fluid movement of the piece that they are barely noticeable and even add to the theatricality of seeing Hairspray live on stage.

Much of the credit for the quality of this production must go to its director, Matt Lenz, and choreographer, Danny James Austin, both of whom have extensive Hairspray experience with the Broadway, Canadian and Vegas productions.  Both remain true to the original direction and dances created by Jack O'Brien and Jerry Mitchell, while tweaking it here and there to fit the changes in set, and likely, the wide variety of venues the show stops at.  Best of all, it is very apparent that these gentlemen have schooled their cast in how to land jokes, and the background of the time period.  You really feel that the young actors understand the references to Liz Taylor, Dick Burton, Perry Como, Doris Day and a host of others.  And they seemed very aware of the Baltimore references- the North Avenue Bus, Patterson Park High School, even the 3 TV channels, nailing every local joke like they actually live here!  How nice to feel like we were all in on the same joke - I didn't even feel that from the Original Broadway Cast.  I can't stress enough the quality of the comic timing.  A friend of mine, another Hairspray fan, said it best when she said, "There were jokes in the show I didn't even remember hearing before!"  And it is true - the whole show, start to finish, has the electricity and freshness of an opening night on the Great White Way. 

The rest of the credit for this completely thrilling show goes to the top-notch, first-rate company of actors.  Let me start with the absolutely amazing dancing ensemble, both on the Corny Collins Show and in Motormouth Maybelle's Record Shop.  Every move is crisp, excellently executed and with just the right amount of John Waters' attitude.  Every number is a highlight, but they really do amazing work in "The Nicest Kids in Town," "The Madison", and, of course, "You Can't Stop the Beat."  Each number was greeted with well-deserved, thunderous applause, and the response to the finale threatened to blow out our eardrums.  What a thrill! 

Jarret Mallon's Corny Collins is a smart blend of cheesy host-smiles and a pretty venomous bite when protecting his show.  Arjana Andris, who plays the multiple adult female roles creates distinct characters and is a hoot as the prison matron.  The Dynamites - Domonique Paton, Natalie R. Perkins and Latasha Whitmore - threaten to blow the roof off the place with their vocal stylings and dance moves. 

As Seaweed, ChristIan White is a gifted vocalist (his "Run and Tell That" is a definite crowd-pleaser) and dancer.  He has managed to find the perfect balance between street-smart cool and gawky everyteen.  His lusty flirtations with Penny are fun and sexy.   Being the villain, and being stuck with probably the hardest song in the score to put over - "Miss Baltimore Crabs", seems an easy, effortless task for Kristin Stewart as Velma Von Tussel.  She attacks the role, and anyone in her way, with the glee of the Wicked Witch of the West, hitting every line with bite and a wink. Dan Ferretti, as Wilbur Turnblad comes perilously close to overkill with his delivery, but he knows how to play the audience, and his affection for Edna is wonderfully genuine.  His rapport with her is gentle and sincere, and the man clearly adores his daughter Tracey.  Kudos to Mr. Ferretti for giving us a family man with good values in the midst of all the mirth and mayhem.

Pearl Thomas' version of Amber Von Tussel is a quirky combination of spoiled brat and overconfident diva.  Miss Thomas is hilarious and pitiable at the same time - one feels glad for everything she gets, but still likes her.  That is pretty tough to pull off.  The object of Amber's affections, Link Larkin, is played with suavity and a tinge of youthful innocence by Constantine Rousouli, a dashing young man with matinee idol looks, and the smooth, crooning voice of a lounge singer.  What really makes his performance work, though, is the underlying surprise his Link feels every time someone showers him with praise and every time he learns something new about himself.  Mr. Rousouli's performance definitely has the feel of being "in the moment"; it is really like all of this is happening for the first time to Link.  His "It Takes Two" and the infectious "Without Love" are major highlights of his performance. 

Two actresses threaten to steal every scene they are in, and for completely opposite reasons.  Angela Birchett as the rhyming soulful Motormouth Maybelle is the very embodiment of regal classiness.  She fairly exudes warmth and wisdom, and MAN, can she sing!  "Big, Blonde and Beautiful" under her lead builds to dizzying heights and brings down the act one curtain with roars of approval from an adoring crowd.  And her act two anthem, "I Know Where I've Been" was a powerfully moving tribute to the equal rights movement.  She earned a mid-show standing ovation from several members of the audience.  When was the last time you saw that?  The other near scene stealer is Alyssa Malgeri's wacky all-out spastic Penny Pingleton.  This young actress is gifted.  She has superb comic timing and instincts.  She lands every line with just the right amount of pizzazz and nuance.  And her voice is a joy - when she finally lets go in "Without Love" the audience screamed with adoring pleasure.  I may never look at bubble gum the same way again. 

Of course, Hairspray would be a complete bust without a good Edna and Tracy Turnblad.  And this company has not just good Turnblads, they are superb.  Jerry O'Boyle, as Edna, plays it, um, pretty straight.  He is for all intents and purposes a woman, not a man playing a woman, which would be a disaster, I think.  Mr. O'Boyle's timing is excellent, and his singing is very good, especially compared to the stylings of his more famous predecessors in the role.  What is so pivotal to his portrayal is the sweetly genuine affection and rapport his Edna has with her family.  Tracy pain is Edna's pain; Tracy's joys are hers, too.  And for the first time since the original cast, we have an Edna/Wibur combination that feels less like Jackie Gleason/Art Carney and more like a real marriage.  When Mr. O'Byle and Mr. Ferretti sing "Timeless to Me" it is an emotional thrill ride - exciting, funny, and satisfying.

As it should be, the real star of the evening is the magnetic performance of Brooklynn Pulver as Tracy Turnblad.  From the minute the spotlight hit her in "Good Morning, Baltimore" I knew we were in excellent hands.  This fireball of energy and talent is giving a performance of her lifetime.  She is the complete package - an excellent, stylized vocalist, a winning comic, and one hell of a dancer.  If you can't root for her Tracy, there is something seriously wrong with you.  Miss Pulver is clearly enjoying her time in the limelight.  What makes her performance so strong in my mind is the instantaneous feeling of complete relationships you feel between her Tracy and every other character she comes in contact with - be it a best friend, a mother, or the love of her life.  Best of all she knows when to push the limits and when to pull back, giving a performance grounded in reality, but with the twisted fun of John Waters' original vision. 

If you think you've seen Hairspray already, give this version a shot.  I think you will be pleasantly surprised.  Never understood why all the hype?  See this production, and you'll get it.  And hey, even with fees, the top ticket price here is still $40 less than Broadway, and here, you are getting a better show.  What are you waiting for??? Call for tickets NOW!

PHOTOS:  By Chris Bennion.  TOP to BOTTOM: Brooklynn Pulver as Tracy Turnblad: "Good Morning, Baltimore"; "The Nicest Kids in Town", Jarret Mallon (center); "Run and Tell That", ChristIan White as Seaweed; Pearl Thomas as Amber Von Tussel (center); Tracy and Link, Brooklynn Pulver and Constantine Rousouli; "Welcome to the 60's", Jerry O'Boyle as Edna and Brooklynn Pulver as Tracy (center); "You Can't Stop the Beat" - Full Company.

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