Tracy's the Tops, but Mama Misses


Reviewed 4/13/04

Hairspray's phenomenal success in the fall of 2002 continued the trend of raiding the film vault for Broadway musical material. While most that have surfaced seemed the ripe for the mounting, many theatre aficionados were surprised that the King of Tastelessness and Baltimore's wacky son John Waters could be the progenitor of any "feel good" musical. Gone are some of the more garish aspects of Waters' trademarks, replaced by a quirkiness that is endearing and tweaking all at once. Tracy Turnblad (Keala Settle) is still the endearing plus-sized sparkplug that fights for a place in the world for big girls and integration, and her big-hearted Mama Edna (Bruce Vilanch) is still played by a man, but there's no hints of smell-o-vision or dog-doo-eating here. The script that has been penned and the songs that have been constructed capture the essence of the not-quite-so-tame 1988 independent film while never heading to the place over the top that Waters notoriously loves to go.

Tracy has dreams of becoming a regular dancer on the local Bandstand rip-off, The Corny Collins Show (Troy Britton Johnson). She is in love with the show's dreamboat regular singer, Link Larkin (Austin Mille). When a spot opens, she auditions to prove that zaftig does not mean untalented. Her mother fears ridicule for her, while her father Wilbur (Todd Susman) encourages her. However, the evil producer Velma Von Tussle (Susan Cella) has designs on making her dim daughter Amber (Jordan Ballard) the Hairspray Queen of 1962. Left in detention with the highly segregated "negroes," she develops a plan that will get her on the show, into Link's arms, and allow for the inclusion of African Americans into the group.

This touring production has A-list talent. Settle is living proof that talent comes in all shapes and sizes. She has a strong voice, a compelling demeanor, and is a very talented dancer. She makes Tracy's pluck adorable without causing a sugar headache. Vilanch is a recognizable talent. He is a cutting and incisive writer and comic who unfortunately became known as "that guy from Hollywood Squares ," but while he has deft comic timing and the perfect look for Edna, he doesn't have quite the right amount of stage presence to give Edna her full due. His dancing looks labored and hesitant, and his singing is simply adequate, although his duet with Susman about the depth of their love is a showstopper that has incorporated anachronistic flourishes and audience recognition.

Beyond these two leading ladies, the remainder of the ensemble is without a flaw. Edna's counterpart in the African American crowd, Motormouth Maybelle, is played with gusto by the stage-filling voiced and full bodied Charlotte Crossley , who manages to rock the house and then bring it down to deep contemplation with ease. Miller's Link is a dreamy hunk with blonde locks, bristling pecs, and a honey-dipped voice that makes it hard not to fall for him. Cella is devilishly slinky, and her Velma holds nothing back. Ballard is squeakily and enjoyably airy as the spoiled Amber. The instantly recognizable character actor Susman is completely earnest and fun to watch. Kudos go to Terron Brooks for his blazing portrayal of Seaweed Stubbs, one of the African American gentlemen who inspire Tracy into action. He is a smooth dancer, a raucous singer, and completely in control of his character from start to finish.

The original production landed a Tony for the costumes, and nods for the other design elements. This is a touring company that hasn't scrimped. William Ivey Long's costumes are all fabulous, David Rockwell's slightly minimized set is full of wonderful images and in-jokes, and Kenneth Posner's bright and color-saturated lighting evokes the era in an enjoyable way. The only slight letdown is in the all-important area of wigs, where most of Paul Huntley's designs are hysterical, but Tracy's quick change creations are disappointing. Jim Vukovich's orchestra is a strong and well ordered bunch.