More than two-and-a-half years after it took Broadway by storm, Hairspray finally makes its Milwaukee debut. Reality-takes-a-holiday in this goofy musical, which by now should be familiar to theater fans everywhere. As a longtime fan of the John Waters' low-budget 1988 film (by the same name), this reviewer was somewhat skeptical whether this campy charmer could be translated successfully to the stage. However, one should never underestimate the limitless talents of director Jack O'Brien. Apparently with John Waters' blessing, O'Brien has thinned down the edgier aspects of this tale to the point of being acceptable to mainstream audiences.
Although the result is mindless, it's far from bland. Hairspray is a non-stop nostalgic tribute to the early 1960s (before all the bad stuff happens, like the Vietnam War, Kennedy's assassination, and so forth). It grabs the audience's heart from the first tune, "Good Morning Baltimore." Rather than glitz over the area's unglamorous elements, such as the smell, the crime and the rats, the tune happily incorporates them. This number also introduces us to the show's short, chubby heroine, Tracy Turnblad. While Tracy must suffer the taunts of her thinner classmates, she manages to outfox them all with her talent, charm and determination. Not only does she fulfill her wish to join the dancers on TV's "Corny Collins" TV show, she snares the show's male dreamboat and even racially integrates the show.
The casting is excellent in this Clear Channel Entertainment tour. Many of the leads have performed in the show's Broadway version. The numerous dancers, showcased throughout the performance, are also crisp and fully in-the-moment. Although J.P. Dougherty can never replace Broadway original Harvey Fierstein as Tracey's mom, he actually attempts to sing, rather than croak, through his songs. This is such a blessing to the audience's ears that it makes the showstopping number between Tracy's mom and dad, "Timeless To Me," even better. Dougherty is so low-key as Edna Turnblad in the early scenes that it makes her "coming out" (so to speak) later on even more effective.
As Wilber Turnblad, Tracy's dad, Stephen DeRosa is a gem. He seems so natural on stage that one can only sit back and be thoroughly entertained by his antics. That he manages to steal the show is a testament to his skill, since all the performers are so delightful. As Tracy, Keala Settle sings and dances her heart out, without ever seeming to break a sweat. She captures the show's essential sweetness.
Although all the performers deserve praise, special mention must be made of Jane Blass, who elevates several minor roles to memorable status. Charlotte Crossley is also notable as the big-voiced gospel singer, Motormouth Maybelle.
Production elements are top-notch, too. The outrageous costumes and hairstyles are framed in an eye-popping set of Broadway caliber. The musical elements are equal to the onstage talent, and the whole shebang is as glorious to hear, as it is to watch. No wonder the show won eight Tony Awards.
