At a time when the world around us is, if not in flames, then beginning to emit worrisome odors and was that smoke?, there’s Cry-Baby. New Line Theatre has brought it back after they staged the very first regional production in 2012. It’s a John Waters work from his film of the same name, and if John Waters’ name doesn’t ring a bell, you may recall Hairspray? Yes, that sort of take on mid-century America. And, boy, is it fun.
It’s the eternal battle between the greasers and the squares, no matter the currently fashionable names of either group. Here, returning to Walters’ Baltimore roots, not that he ever seemed to completely leave them, the greasers are referred to as the Drapes. Originally a movie (check the cast list, if you didn’t see the movie), it was turned into a Broadway musical that was sadly short-lived, despite several Tony nominations.
Cry-Baby (the hyphen is silent) is the nickname for Wade Walker, an orphan who’s run from orphanages and foster care homes, but has discovered he likes to sing. He and some friends show up at an anti-polio picnic for their Salk vaccine shots and he meets Allison, also orphaned but being raised by a deeply Establishment grandmother. They’re just kids – he’s a dropout (and you saw that coming, didn’t you?) and she’s in the eleventh grade. This is set in the early Fifties, but even by those standards, they’re pretty young for Serious Romance. But adolescent hormones make romance Serious in any era, especially when Grandmother disapproves…although she occasionally and most uncharacteristically softens slightly.
This all sounds relatively wholesome except for the sideburns and leather jacket. But it’s John Waters, so be assured that it’s not. The songs range from the opening number “The Anti-Polio Picnic” to “Girl, Can I Kiss You with Tongue?”. (And this is before the #MeToo era, very responsible of him to ask.) Scott Miller and Mike Dowdy-Windsor’s direction gives quite a bit more than a generous amount of very wet osculation, making this pretty much a not-for-little kids show, no surprise at New Line.
Grace Langford absolutely tears it up as Allison. She sounds great and is generally one of those performers it’s hard to take your eyes off. Cry-Baby is Caleb Miofsky, making his debut in professional theatre. I’m impressed with how well a senior in high school sings the styles popular when I was in high school, back in – well, never mind, do the math yourself. He’s a perfect fit for the role and the physical relationship between him and the petite Langford reminds one of so many adolescent match-ups. They’re terrific together, and we will, with luck, see more of each of them. (Langford is already signed for two more New Line shows.)
Serious choreography from Michelle Sauer and fine music direction from Nicolas Valdez and Marc Vincent. Colene and Evan Fornachon did the costumes which are not strict period reproductions, but close enough. But please remember that ladies’ slips, whether petticoats or the full net skirts known as “cancans” were not supposed to show. A female stranger might well sidle up to a woman or girl and whisper or hiss, “Your slip’s showing!” and pass on by, secure in the sisterhood and knowing the other female was yanking firmly at her outer garment.
A delightful piece of work, escapism in a very fine form.
Cry-Baby
through October 19
New Line Theatre
Marcelle Theater
3310 Samuel Shepard Drive