This story was originally published by ArtsATL.
Notably dated book aside, “Hairspray” is a fun show — there’s an inherent theatricality to it that lends itself to campy aesthetics and broad performances. But it doesn’t lack in emotionally resonant beats either. All of these qualities are captured in Out Front Theatre’s gleefully irreverent production, running until Nov. 9.
Under Justin Kalin’s direction, this “Hairspray” brings out all of the over-the-top and bawdy comedy that Out Front is known for, bolstered by a hilarious and talented cast. The physical limits of Out Front’s space are felt in some of the more crowded numbers, and the second act is certainly stronger than the first, but Kalin and the cast and crew still manage to achieve the joy and vivacity for which the show is so known..
The performances are mostly strong, though the biggest standout is definitely Blake Fountain — also known by his drag persona, Tugboat the Queen — as Edna Turnblad. Fountain’s charisma and comedic timing, combined with a carefully deployed vulnerability, make him a captivating and entertaining presence. His chemistry with Elliott Folds’ Wilbur is charming and lends itself to a heartwarming rendition of “You’re Timeless to Me,” the show’s most underrated number.
Credit: Photo by Sydney Lee
Credit: Photo by Sydney Lee
Other delights include Allie Hill as Penny Pingleton and Kayce Denise as Motormouth Maybelle. Hill brings an unhinged humor to her role, while Denise’s performances of “Big, Blonde and Beautiful” and “I Know Where I’ve Been” are alone worth the price of admission. Caty Bergmark is a perfectly endearing Tracy, radiating good-natured optimism.
The only questionable casting choice is Paul Conroy as Velma Von Tussle. While putting Velma in drag is an inspired idea that leans full tilt into this production’s already campy sensibility — and Conroy certainly seems to be having a blast — he lacks the vocal ability to tackle Velma’s attention-grabbing songs. “Miss Baltimore Crabs,” usually one of the show’s most memorable numbers, falls unfortunately flat.
Kalin makes valiant attempts to rehabilitate some of the book’s more outdated lines, particularly those where a well-meaning Tracy accidentally commits microaggressions against the Black people around her. Kalin does this by playing these moments from the point of view of those Black characters, encouraging the audience to roll their eyes at Tracy.
The more difficult lines to reconcile are those that drip with unintended fat phobia, where the script resorts to poking fun at Tracy and Edna for overeating.
Credit: Photo by Sydney Lee
Credit: Photo by Sydney Lee
Still, it’s easy to forget the book’s flaws when the Dynamites (Autumn Dawn, Desiree Wilkins and Mya Burns — all stellar) strut onto the stage in “Welcome to the 60′s,” or when the tap shoes come out for “The Big Dollhouse” or when the whole cast cranks the energy up to 11 during “You Can’t Stop the Beat.” When the ball really gets rolling in Act 2, it’s hard not to enjoy even less consequential numbers, such as Branden Hembree’s “(It’s) Hairspray” or Wynne Kelly’s “Cooties.”
The production is further enhanced by Jay Reynolds’ sumptuous costume design, featuring an array of eye-catching dresses and coats — and just wait for Edna’s makeover toward the end of Act 1. David Reingold’s lighting is similarly striking, sprinkling in queer Easter eggs such as the Pride flag colors, which appear in multiple numbers. Sydney Lee’s set design and Brady Brown’s sound design are also effective.
It must be said that the group numbers in Act 2 are stronger than Act 1, as some unrefined choreography and thin group vocals prevent numbers like “The Nicest Kids in Town” and “Run and Tell That!” from fully shining. Musically, the show does not truly start revving its engines until “Welcome to the 60′s.”
Some aspects of “Hairspray” may not have aged well, but the show is still good fun, as evidenced by abundant laughs from the opening night audience. If “Welcome to the 60′s,” “Big, Blonde and Beautiful” or “Without Love” do not have you grooving in your seat, then “I Know Where I’ve Been” will raise the hairs on your arms. Blake Fountain, too, will have you rolling with laughter.
THEATER REVIEW
“Hairspray”
Through Nov. 9 at Out Front Theatre. 8 p.m. Monday, Wednesday, Thursday, Friday and Saturdays. $30-$40. Out Front Theatre, 999 Brady Ave. NW, Atlanta. 404-448-2755, outfronttheatre.com
::
Luke Evans is an Atlanta-based writer, critic and dramaturge. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.
Credit: ArtsATL
Credit: ArtsATL
MEET OUR PARTNER
ArtsATL (artsatl.org) is a nonprofit organization that plays a critical role in educating and informing audiences about metro Atlanta’s arts and culture. ArtsATL, founded in 2009, helps build a sustainable arts community contributing to the economic and cultural health of the city.
If you have any questions about this partnership or others, please contact Senior Manager of Partnerships Nicole Williams at nicole.williams@ajc.com.
About the Author
