The happily checkered history of “Hairspray” began with a 1988 movie written and directed by John Waters. Fourteen years later, it was re-created as a musical and opened on Broadway, where it won eight Tonys and ran more than six years. The musical became its own movie in 2007.
A bright, funny, well-acted and -directed version opened over the weekend at Washington University’s Edison Theatre, a co-production of the Black Rep and the university’s performing arts department, to run through Oct. 30. It delivers a social message that probably needs to be heard again, along with superior entertainment by a large and talented cast that includes members of the Black Rep organization, St. Louis actors and some extremely gifted college and high school students, many of whom who have major roles.
Ron Himes directs stylishly, bringing proper dramatic strength and balance, and making it work on the theater’s awkwardly shaped stage. Choreographer Millie Garvey had a similar problem, but her dance numbers were delightful, reminding us of what we looked like about a half-century ago. Remember the Madison? Or the Supremes? A trio of talented young women, the Dynamites (Evann Jones, Alexis White and Tyler White), provide all the memories we need as they sparkle their way across the stage. The book, by Mark O’Donnell and Thomas Meehan, holds up well, as does the score, with music by Marc Shaiman, lyrics by Shaiman and Scott Wittman.
Set in 1962, in a Baltimore whose segregation problems mirrored those of St. Louis, Waters’ film dealt with Tracy Turnblad, a chubby high-schooler who dreamed of dancing on the Corny Collins Show, a high-school hop program that was afternoon television programming in cities across America. She also thought it a good idea to end the show’s policy that Black Baltimoreans’ participation be limited to once-monthly “Negro Day.”
Johanna Elkana-Hale is Tracy, and she’s just right, singing well, dancing up a storm and reflecting all the anxieties and hormonal storms of the genus high schoolus. Her Mom, Edna, always has been played by a man (Divine, Harvey Fierstein, John Travolta), and Zachary Allen Farmer is a winner in the role. The voice cracks at the proper times, her costumes look as if they were created on her sewing machine and she has built a life on the narrow line that separates laughter from tears. J. Scott Matthews, better known as Jeffery and as a director and teacher rather than an actor, is Wilbur Turnblad, who runs a gadget shop and dreams of inventing a bigger and better whoopee cushion. He’s a delight, grounded on black-and-white wingtip shoes with chartreuse, glow-in-the-dark laces. Edna obviously designed his clothes. Matthews and Farmer do a show-stopping duet of “You’re Timeless to Me,” showing all the love of a pair of misfits for one another. It’s beautiful.
Among the students, high praise to Eric Newfeld (Corny Collins), Pete Winfrey (Link Larkin), Diamond Skinner (Motormouth Maybelle), Desiree Thomas (Little Inez), Megan Lacerenza (Penny Pingleton), Ari Scott (Seaweed) and Marissa Barnathan (Amber Von Tussle). Newfeld showed the poise and polish of a veteran; Winfrey, Thomas and Scott danced up a storm; Lacerenza was a perfect doofus; Barnathan was a perfect apprentice witch; and Skinner, who generously saluted the late Dean Jim McLeod in her program biography, offered a winning performance of “I Know Where I’ve Been.”
Another high spot was the rendition of “Miss Baltimore Crabs,” by Courtney Elaine Brown, performing in a walking cast. She’s Velma Von Tussle, producer of the TV show and mother of Amber. Velma’s apprenticeship is over; she’s a full-fledged witch.
The Edison showed occasional, but irritating, sound problems, a difficulty it’s shown its entire life, but things were better in the second act. Music director Charles Creath brought outstanding music from a quintet that also included Craig Florez (guitar), Al Caldwell (bass), Keith Fowler (drums) and Kasimu Taylor (horn).
Robert Mark Morgan designed the simple set; the stage is mostly bare, with a few props when they’re needed, but with a series of vertical hanging crystals that offer nice effects when combined with Sean M. Savoie’s lighting design. Sarita Fellows’ many costumes were spot-on in every respect, especially those wing-tip shoes.
Hairspray, a co-production of the St. Louis Black Repertory Company and the Washington University Performing Arts Department, is on stage at the Edison Theatre Friday-Sunday through Oct. 30
—Joe