Review: HAIRSPRAY at Actors Theatre Of Little Rock

To wrap up Season 3 for Actors Theatre of Little Rock, they ended with Hairspray—a show I’ve been wanting to see live for a long time. From December 3–20, this cast brought the beat to the Quapaw United Methodist Church basement, transforming the space into an immersive, joy-filled playground bursting with big hair, bold voices, and infectious energy. The intimate setting places the audience right inside the action, making every dance break, punchline, and moment feel personal and electric. With Music by Marc Shaiman, Lyrics by March Shaiman & Scott Whitman, Book by Mark O’Donnell & Thomas Meehan, and Based on “Hairspray” by John Waters, it was clear this production was ready to celebrate community and the power of being unapologetically yourself. 

Set in 1960s Baltimore, Hairspray follows Tracy Turnblad, a big-hearted teen with big dreams of dancing on The Corny Collins Show. When Tracy lands a spot on the program, she quickly finds herself at the center of a cultural battle, challenging outdated beauty standards and segregation on live television. Along the way, she discovers friendship, love, and her own voice while standing up for what’s right. With infectious songs and sharp humor, the show delivers its message of inclusion and equality with irresistible charm. 

Competing for top leading lady, both Emily Swenskie as Tracy Turnblad and Dakota Mansfield as Edna Turnblad have my starry-heart eyes in a cannot-look-away, heart-about-to-burst kind of way. Swenskie’s Tracy is an explosion of joy, confidence, and fearless determination—she doesn’t just play Tracy, she is Tracy. Every entrance feels like a celebration, every dance break is fueled by pure belief in herself and everyone around her, and her vocals soar with a strength and sincerity that make you want to cheer mid-number. I was fully obsessed from start to finish. 

And Dakota Mansfield as Edna? Y’all. I LOVE me some Edna Turnblad, and I love Dakota Mansfield even more! Dakota’s Edna is riotously funny without ever tipping into caricature, grounding every laugh in warmth and vulnerability. The comedic timing is chef’s-kiss perfect, with a commanding presence, and emotional moments that land with pure tenderness.  

Then, of course, there is the chemistry within the Turnblad household. Swenskie and Mansfield already radiate unconditional love as mother and daughter, but add Chuck Bonet as Wilbur Turnblad, and the trio becomes something truly special. Bonet brings Wilbur’s unwavering devotion and gentle humor to life with ease, creating a family dynamic that feels affectionate and deeply rooted in love. Their shared scenes are filled with warmth and mutual support, making the Turnblads the emotional anchor of the show and giving the audience a family worth rooting for from start to finish. 

Not to be outdone (because I do love a good villain), the dueling baddies Emory Tyson Molitor as Velma Von Tussle and Makenzie Burks as Amber Von Tussle also earn some serious starry-heart eyes. Molitor’s Velma is deliciously sharp and calculating, dripping with icy authority and biting wit; she knows exactly how to make the audience love hating her. Makenzie Burks leans fully into Amber’s spoiled, smug, tantrum-fueled chaos, delivering fearless physical comedy and impeccable timing. Together, they are a villainous dream team, feeding off each other’s energy and delivering some of the biggest laughs of the night.  

This cast also delivered on the heartthrob front in a BIG way, complete with standout musical moments that sent the audience into full swoon mode. Noah Warford as Link Larkin was, for the most part, the perfect boyfriend—charmingly confident, irresistibly cute, and clearly aware of the effect he had on the room. Every time he leaned into “It Takes Two” or sang directly to Tracy, the chemistry was undeniable, and when he sealed the deal with a kiss, you could practically hear the collective swoon. Tylen Loring as Seaweed was a revelation, bringing a smooth, confident edge to numbers like “Run and Tell That” and emitting a level of sex appeal I hadn’t seen from him before. His chemistry with Lauren Strickland as Penny was off-the-charts electric, especially during “Without Love,” where their playful energy and genuine connection made the number pure joy. And yet, despite all that, Thomas Williams as Corny Collins somehow had all the swag. From “The Nicest Kids in Town” onward, Williams commanded the space with effortless cool and a magnetic presence. He was a real dreamboat.  

One of the most powerful musical moments of the entire production belonged to Valerie Foster as Motormouth Maybelle. Her rendition of “I Know Where I’ve Been” stopped the room cold, delivering a soul-stirring ballad filled with strength and emotional weight. Foster’s voice carried the history, pain, and hope embedded in the song, grounding the show’s joy with purpose and reminding the audience exactly why Hairspray still resonates today. I also loved the spunky attitude from Spencer Steward as Little Inez, who brought confidence and just the right amount of sass to the role, making every appearance feel lively and full of personality. 

The ensemble and creative team deserve major applause for keeping this Hairspray buzzing with nonstop energy from start to finish. Under the confident leadership of Co-Directors Mari Allen and Dariane LyJoi Mull, the production feels cohesive, joyful, and purposeful. Music Director Nick Farr leads the vocals with precision and power, ensuring the harmonies are tight, the energy stays high, and every big number lands with clarity and punch. Choreographer Amaya Hardin keeps the stage alive with high-energy group numbers and infectious grooves, especially in crowd-pleasers like “Welcome to the 60s” and the finale. Visually, the show pops thanks to Anthony McBride’s vibrant, era-perfect costumes, Lauren Lusk’s flexible scenic design that maximizes the immersive basement setting, and Sid McGough’s props that ground the world of The Corny Collins Show. Sullivan Hickman’s lighting design and Jonathan Fili’s sound work keep the energy sharp and the vocals clear, while Torres De’von Eskew’s hair and wig designs and Taylor Fulgham’s makeup seal the deal on the 1960s flair—big hair, bold looks, and personality in every corner of the stage. 

One of my favorite things about Actors Theatre of Little Rock is their commitment to partnering with local businesses, especially Loblolly Creamery, who create a special show-inspired treat for each production. For Hairspray, we happily indulged in “You Can’t Stop the Swirl,” a decadent chocolate-and-vanilla creation that was just as irresistible as the finale itself. I did not stop eating until the very last bit was scooped up. It’s these community-centered touches that make an evening at ATLR feel like more than just a show—it feels like a celebration of local artistry, creativity, and connection. 

Kicking off Season Four, titled We, The People – Still We Dream!, is Oklahoma! The Musical, and the fangirl in me is absolutely thrilled that it’s being directed by my favorite, Caelon Colbert. This upcoming season promises the perfect mix of beloved favorites and titles I can’t wait to experience for the first time. For more information, visit their website at https://actorstheatrelr.org.

Thank you to Eric White for these fabulous photos!

Arkansas Awards - Live Stats

Best Musical - Top 3

1. THE WIZARD OF OZ (Arts One Presents)

12.9% of votes

2. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

11.6% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.5% of votes

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