Ticket? Check. Program? Check. Can of Ultra-Clutch hairspray? Check.
The cast of "Hairspray" arrived in D.C. for their five-performance run April 15 at the Warner Theatre. Some musicals lose their sparkle when transitioned from the stage to the screen and back to the stage, but luckily this touring cast refuses to let their energy - or hair - fall flat.
"Hairspray" chronicles the tale of Tracy Turnblad, a plus-sized teen living in Baltimore in 1962, whose one goal in life is to dance on an integrated "Corny Collins Show" dance television program. Amidst racial tensions, overbearing mothers and jealous, skinny stars from the "Corny Collins Show," will Tracy ever achieve her dream?
Since theatergoers are now familiar with the 2007 movie, expectations were high. Thankfully, the tour didn't try to imitate the movie and instead presented an independently extravagant production. Using minimal set pieces, lighting and a large, Lite-Brite reminiscent backdrop to add movement and sparkle to the big dance numbers, the cast fills out the show with a moderate-sized ensemble.
Though the show is currently touring all over the United States, cast members found a friendly audience in D.C. because of its snide political jokes and numerous references to nearby Baltimore. The production also entertains with its innuendos about the teens' romances of the time period, though many are so quick or subtle that the children in the audience missed them.
A difficult show to cast because of physical requirements of the majority of the roles, this production meets the challenge with a diverse and strong ensemble. From the opening number, "Good Morning Baltimore," to the finale, "You Can't Stop the Beat," Brooklynn Pulver struts her considerable stuff in the lead role. Pulver shows her substantial vocal range as Tracy, frequenting the bright belt expected for the role but also exercising admirable control through the softer parts of "I Can Hear the Bells." Pulver has played Tracy in the national tour for several years, Pulver clearly feels at home playing the pleasantly plump powerhouse and her energy keeps the show alive.
Tracy's best friend, Penny Pingleton, played by Sharon Malane, also stands out in the show as the geeky, inexperienced teen who falls for Tracy's black friend, Seaweed. Though she only has a few solos, Malane matches Pulver in vocal power and creates several comic moments through the show, if the audience could tear their eyes away from the primary action to find her in the background.
With a show whose culmination lies in a dance competition, one would hope the choreography would be representative of that fact. Though the dancing seemed suspiciously simple, the concentration required to perform some of the numbers where twenty people maneuver seamlessly around the stage deserved a large round of applause. The 1960s dance moves meld with the styles from the black community of the time to create fun numbers that the performers, along with the audience, seem to enjoy.
Only during the scenes where there was extended dialogue between songs did the show falter in its pizzazz. Fortunately, these moments were rare. More importantly, the cast brought to light the important issues of the '60s that still resonate today. Racism, confidence and the support and love of parents shine through in this musical without being preachy.
For a feel good evening, look no further than Baltimore in 1962, where the dancing is intense, the performers are top-notch and "Hairspray" reigns supreme.
