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| Lindsey Litka and Michael Nugent Photo: Stasia Steuart Photography |
Wouldn’t you like to escape for
a couple of hours from the current tumult in the world and head back to the
1950’s when polio shots were mandatory, kissing with tongue seemed like hitting
a triple, and air raid drills were routine?
If so, then head to the Slayton House
Theater in Columbia to see “Cry-Baby the Musical” presented by Silhouette
Stages. Director and Choreographer Tommy Malek and Assistant Director Matt
Wetzel guide a terrific group of performers under the musical direction of
Nathan C. Scavilla and John Keister in what is an extraordinarily executed,
gorgeously costumed production.
With a book by Mark O’Donnell
and Thomas Meehan and songs by David Javerbaum and Adam Schlesinger, the
musical version of John Waters’ 1990 film of the same name doesn’t contain the
vulgarity normally associated with Waters’ past films. And this particular work, though it received
four Tony Award nominations in 2008, didn’t endure on Broadway past the 68th
performance.
The hope was that the show could
match the theatrical success of “Hairspray” that had been adapted by Mr. Meehan
from another famous Waters film. While “Cry-Baby and “Hairspray” deal with
class warfare in Baltimore, “Cry-Baby” does not contain the provocative social
messaging within the storyline of “Hairspray” (racial segregation) or match its
potent score.
Nonetheless, Silhouette Stage’s
production of “Cry-Baby the Musical” knocks it out of the park. The prevailing
campiness and the quirkiness of the characters that are a hallmark of Waters’
portfolio are evident throughout, and a youthful enthusiastic cast seems to
have a great time performing.
You can easily notice the
influence of Waters on Javerbaum and Schlesinger’s songs by just the titles, such
as “Anti-Polio Picnic,” “Watch Your Ass,” “I’m Infected,” and “Screw
Loose.” Name one other Broadway musical
with song titles of this ilk. While I don’t find the melodies in most of the
rock, soul and doo-wop numbers particularly memorable, the songs are
lyric-driven and are a key contributor to the hilarity of the show. #hocoarts
Rachel Sandler and her
four-piece orchestra situated at the back of the stage do an excellent job of
supporting the vocals without overwhelming them. And you can credit Alex Porter for superb
sound design allowing every note, every lyric and every spoken word to be heard
with great clarity. He and Mr. Malek designed the set, which consists largely
of scaffolding and stairs with an assortment of set pieces to denote scene
changes.
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| Photo: Stasia Steuart Photography |
Costume Manger Clare Kneebone
assured that the cast is fitted in spot on period garb including colorful
dresses and sweaters for the richer kids as well as leather jackets, tee shirts
and jeans for the others.
Specialty
costumes for the eccentric characters add to the laughs.
Set in Baltimore in 1958, “Cry-Baby
the Musical” pokes fun at the early James Dean and Elvis movies and the
rockabilly music that surrounds the plot. The story centers on Allison
Vernon-Williams (played charmingly by lovely Lindsey Litka), a never-been-kissed,
upscale society girl who would like to cross those proverbial tracks to become
a “drape” (delinquent).
She does so when she connects
with a drape Wade “Cry-Baby” Walker (Michael Nugent), a cool, good-looking,
aspiring rock ‘n roller who is not anywhere as bad as his reputation. He is orphaned as his parents were wrongfully
convicted of a crime and executed. Be
patient; there are loads of laughs to be had.
Allison has to overcome two
obstacles: her pious, wealthy protective grandmother, Mrs. Cordelia
Vernon-Williams (played superbly by Conni Ross), and her corny, squeaky-clean,
square boyfriend, Baldwin Blandish (played sprightly by Matt Sorak). Allison wants to leave the bland Blandish
behind and find a new adventure with Cry Baby.
It’s not that simple though.
As Allison, Ms. Litka
demonstrated strong acting skills conveying a wide range of emotions. This
ability effectively wins the audience over with everybody rooting for her. Ms.
Litka’s pitch perfect singing voice is golden and performed well in such
numbers as “”I’m Infected,” and “Nobody Gets Me.”
Michael Nugent as the title
character puts on a tour-de-force performance.
Commanding the stage, handsome Mr. Nugent rocks a pair of tight jeans,
leather jacket and a tee-shirt like it’s nobody’s business. His acting is
strong without going over the top, and he delivers the comedic lines with skill
and good timing.
Mr. Nugent is blessed with a
solid singing voice and performs extremely well in a duet with Ms. Litka in the
clever “I’m Infected” and as a solo in “Do That Again”—one of the few
conventional song titles.
In another duet with Ms. Litka,
“Girl, Can I Kiss You…?” he tries to introduce French kissing to the innocent girl
and the number is totally hilarious with John Waters’ affinity for the outrageous
all through it.
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| Photo: Stasia Steuart Photography |
There are the eccentric drapes
that form Cry Baby’s posse and who encourage Allison to transform her upscale
persona to theirs. Pepper Walker, Cry
Baby’s switchblade-toting pregnant 16 year-old sister is played hilariously by
Amy E. Haynes. So pregnant is she, I
thought she was about to give birth to a DeSoto.
My favorite character—the one I
relate to the most—is Mona “Hatchet-Face” Malnorowski, a disfigured soul who
was told when she was younger that she could rob a bank just by using her
face! She proudly brags that she is
equally ugly on the inside. Hatchet-Face
is played exceptionally by Parker Bailey Steven.
Another drape is Wanda Woodward played
by Clare Kneebone. It’s not a major
role, but she performs well in several group numbers throughout in addition to
her duties as the show’s Costume Manager.
The trio score in the funny “A Whole Lot Worse.”
Monique Cheryse Wilson plays Cry
Baby’s best male friend Dupree W. Dupree and sings well in the solo “Jailyard
Jubilee” and the group number “A Little Upset.”
Then there is Lenora Frigid, an
odd girl whose engine apparently does not contain all of its spark plugs. Played superbly by Bailey Wolf, she wants to
be a drape and is smitten with Cry Baby.
Her rendition of the hilarious “Screw Loose” is one of the show’s
comedic highlights.
Back across the tracks, Conni
Ross deliciously plays the role as Allsion’s wealthy, protective, moralistic
grandmother, Mrs. Cordelia Vernon-Williams (Allison’s parents, too, are dead),
who desperately tries to keep her young granddaughter away from that bad-boy
Cry Baby. She excels in the solo “I Did Something Wrong Once” and what she was
referring to was a biggie.
Matt Sorak as Baldwin Blandish,
the conservative square who plays a key role in a plot twist that will not be
revealed. He is completely campy and
fun.
Baldwin is a part of a doo-wop
group called The Whiffles, always dressed alike, who hopes to make a record. The members played by Johnny Dunkerly, Jacob
Hale and Jeff Miller do a fine job with their vocals and dancing. Their numbers “Squeaky Clean” and “This
Amazing Offer” hit the mark.
Rounding out the talented cast
are Richard Greenslit as Judge Stone and Officer O’Brien, Christopher Kabara as
the Bailiff, Mr. Woodward and DJ, the male ensemble Bradley Allen, Derek
Anderson, , and the female ensemble Maddie Bohrer, Libby Burgess, Ty’Aira
Johnson, Lauren Romano and Jamie Williams.
Silhouette Stages’ presentation
of “Cry-Baby the Musical” is a lively, well-staged production with a splendid
cast and is community theatre at its best.
The show is not here long so hurry up and catch it. The only tears you will have will be from
laughing.
Running time. Two hours with an
intermission.
Advisory: “Cry-Baby the Musical”
contains adult language and situations and is not recommended for children
under 12.
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