Emphasizing the fun in Hairspray’s many funky features, the stars and all who support them at Florida Studio Theater never let their energy or smiles flag. Like their 1960s hairdos, they represent sky-high hopes, then actions of the big-hearted to win out against the pig-and-wrong-headed in a contest that’s silly on the surface but will have a serious purpose deep down.
In ‘60s Baltimore, cute, chunky Tracy (bundle-of-bounce Brooke Shapiro) aspires both to be on the “Corny Collins Show” and win a Miss Teen Hairspray contest. Mom Edna (imposing Greg London) assures her that “people like us” aren’t wanted on TV, but then neither are Black ones. They’re even confined to dancing on a not-often-scheduled Negro Night.
Tracy has to pit herself against Alaina Mills’ hateful blond, beehive-coifed Amber, aided by her TV producer mother Velma (Sarah Joy Ledtke, a salient schemer). Tracy not only wins out against them but wins over teen heartthrob Link (good looking and singing Dane Becker). Her crusade allows reserved pal Penny (likable Lindsay Nantz) to swing with Seaweed (magnetic Melvin Brandon). Corny himself (presentable Patrick Connaghan) helps, despite opposition from negative characters played strongly by Stephen Hope.
Of prominent help to Tracy in outlawing segregation are Jennifer Fouche as Motormouth Maybelle and Tracy’s dad Wilbur (old pro D. C. Anderson). Anderson and London, a most contrasting couple in all but their love for one another, do the vaudeville-like showstopper, “You’re Timeless to Me.” It’s among a number of clever numbers, with a good deal of rock, that audiences enjoy but won’t hum or sing after the show.
Pastels set the flavor of most of the cute sets. Costumes are many and lavish. Mom Edna’s final marvel befits her new-found fame as a designer of dresses for women’s-size women. There’s a marvelous mint of silver (via mirrors) shining in adornments for the final scenes. It seems an auspicious part of Mike Foster’s lighting plot.
Musicians work harmoniously from backstage but are often over-miked. Dancing is nearly omnipresent and terrific. In fact, all the pacing--including scene changes--accrues to the credit of director Richard Stafford. He also gets the most out of every member of his well-integrated cast. If there is any problem, it may be a too-long first act. At well past an hour, act one left many in the audience fidgety.
