Good Morning Baltimore! Beloved Hairspray Returns Home

From the opening number “Good Morning Baltimore” to the rousing finale “You Can’t Stop the Beat,” you know the audience at Baltimore’s Hippodrome Theatre was thoroughly soaking up its hometown musical Hairspray. Indeed, the ovations given to those bookend songs and all the ones in between were so loud you can feel the vibrations in this stately theater. And you just know that with this audience Hairspray could do no wrong on its home turf. It did not disappoint.

In fact, under the meticulous direction of Matt Lenz, the sparkling production soars in all elements— a terrific storyline, the music, orchestration, technical innovations, slick staging, eye-pleasing visuals, dazzling, costumes, sensational choreography and an abundantly talented and energetic cast—making this production one of the very best you will ever see. It is no wonder Hairspray copped eight Tony Awards in 2003 including Best Musical.

Because there were so many Baltimore references and local flavor in the music and dialogue, one must marvel how this production is so appreciated in other cities on its national tour. From Patterson Park High School, to North Avenue, to Essex Community College, to Pigtown and the Women’s House of Detention, this show has Baltimore painted all over it with a few well-placed “hons” inserted as part of the dialogue. And even the Formstone facing, a Baltimore staple of rowhomes in Baltimore’s urban and working class neighborhoods, is evident in much of the scenery. The musical is based on the 1988 film of the same name by Baltimore icon John Waters.

Most of us can relate to being an underdog during points in our lives. Overcoming challenges can be fulfilling and exhilarating especially if the results are unexpected.  So, when we see others do it, we cheer and cheer hard because we can relate; we’ve been there.  Who doesn’t love underdogs who triumph against the odds?

Hairspray  is a vibrant feel-good musical that allows the audience to fight the fight alongside the underdogs.  While there is a solid amount of comedy throughout, Hairspray tackles serious social issues to boot. The book was penned by Mark O’Donnell and Mark Meehan who garnered Tony’s for their efforts.

Musical Director Patrick Hoagland and his orchestra as well as the performers bring to life the Tony Award winning score by Marc Shaiman and lyrics by Scott Wittman and Shaiman that includes 60’s-style dance music and rhythm and blues – a mixture of upbeat high-tempo numbers with soft emotional ballads.

"...a vibrant feel-good musical that allows the audience to fight the fight alongside the underdogs."

Michele Lynch, who is the show’s accomplished choreographer, is blessed to work with an incredible cast who clearly enjoy themselves as much as the audience does.  “Good Morning Baltimore,” “The Nicest Kids in Town, “Welcome to the ‘60’s,” “The Big Dollhouse” and “You Can’t Stop the Beat” are examples of numbers containing wonderful choreography.

Baltimore in 1962 is the backdrop for the story that centers on the main underdog, plucky and pleasantly plump Tracy Turnblad played marvelously by Niki Metcalf. 

Against the odds, our heroine Tracy seeks to be a dancer on the local Corny Collins TV show and winds up being a star, successfully covets the heartthrob Link Larkin in an unlikely match, and uses her newly-found celebrity to rally against racial segregation.

Though Hairspray brings to life the good times of that period, nostalgic it’s not.  Baltimore was a segregated city then, and racism that is associated with that blight, becomes the main force in the show.  In the end, there are heroes galore as The Corny Collins Show is ultimately integrated led by the persistent Tracy who had been jailed for being a “rabble rouser.”  

In a tour de force, Ms. Metcalf wins your heart with her playful and forceful portrayal of Tracy. Her compelling character overcomes self-esteem issues brought about by fat-shaming.  Not only do her acting skills and stage presence come to the fore but Ms. Metcalf’s vocals are stellar as well. Excelling in many numbers throughout including the iconic “Good Morning Baltimore,” her solo “I Can Hear the Bells” rings out.

For the performance reviewed, Greg Kalafatas is excellent as homebody Edna Turnblad, Tracy’s plus-sized mother.  He plays the drag role with panache and delivers many comedic lines with impeccable timing and amusing facial expressions.     

Christopher Swan does a fine job as Tracy’s encouraging father and Edna’s adoring husband Wilmer Turnblad.  In a sweet number, the Turnblad couple reminisce in “(You’re) Timeless to Me” and  is one of the show’s many highlights. The ballad is an adorable love song oozing with emotion and camp that will make you smile. Mr. Kalafatas and Mr. Swan nail it.

Emery Henderson who plays the rather dim Penny Pingleton, Tracy’s closest friend, is excellent as she also serves up some comedic lines.  Penny, who is controlled by her overprotective and racist mother Prudy (Emmanuelle Zeesman) falls in love with African-American Seaweed J. Stubbs played very well by Jamonté D. Bruten, who are key to the integration effort.  Mr. Bruten shows off smooth dance moves and sings well in “Run and Tell That.”

Handsome Will Savarese plays the heartthrob Link Larkin (when is an actor playing Link not handsome?) is one of the protagonists.  He fills the bill to the hilt with his swagger and occasional preening.  Possessing a solid voice as well,  Mr. Savarese shines in his duet with Ms. Metcalf  in “It Takes Two” as the duo improbably falls in love.  

Other strong performances are turned in by Billy Dawson as the vibrant Corny Collins, Addison Garner as the villainess and Corny Collins Show producer Velma Von Tussle, and Kaelee Albritton as Amber Von Tussle, the self-absorbed reigning Teen Queen vying for the title “Miss Hairspray 1962” and Tracy’s chief rival.

Another highlight is Gabriyel Thomas playing Motormouth Maybelle for this performance, the mother of Seaweed and Little Inez (Kaléa Leverette).  Her powerful rendition of “I Know Where I’ve Been” whereby she recalls the fight for equality is almost guaranteed to make your eyes well up in tears.    

The Dynamites is a background singing group that adds a Motown feel to the show.  Talented vocalists Nichelle Lewis, Jazz Madison and Parris Mone’t Lewis comprise the group.  I can envision Ed Sullivan introducing them on his show: “Right here on our stage…here are the explosive Dynamites!”

The production is a visual delight with brilliantly colorful lighting (Paul Miller) and exquisite scenery (David Rockwell) featuring numerous backgrounds and drop-down curtains as well as the aforementioned Formstone depictions.

William Ivey Long designed the glorious 60’s-era costumes that are right on target especially that red satiny gown Edna (Greg Kalafatas) wears at show’s end.   Oh, and those bountiful, big-hair wigs (designed by Paul Huntley and Richard Mawbey)! Love ‘em.

This polished, high-energy production of Hairspray succeeds on all fronts and entertains while delivering a powerful message. At show’s end, the cast received a well-deserved thunderous and I do mean thunderous ovation. It is a must-see, good-time show, and Lord knows a good time is just what we can use today.

Running time. Approximately two hours and 30 minutes with an intermission.

Hairspray runs through June 19 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit here or the Baltimore Hippodrome.

Photos by Jeremy Daniel