Review: Raleigh Little Theatre's HAIRSPRAY

Based on John Waters' 1988 cult film of the same name. Hairspray takes place in Baltimore, Maryland in the year 1962. The story centers on Tracy Turnblad, a plump teenage girl whose lifelong dream is to dance on the local TV dance program known as The Corny Collins Show. When Tracy wins a role on the show and becomes an overnight sensation, she launches a campaign to integrate the show. Hairspray is a musical that’s had a special place in my heart for nearly 20 years. I caught the 2007 film adaptation in theaters on opening day and was immediately won over. Since then, I saw the show on Broadway, was lucky enough to have worked on the backstage crew for a community theatre production, and previously reviewed two separate stagings for BroadwayWorld. No matter how many incarnations I’ve seen, it’s always hard for me to not have a really good time with it.

The first staging I covered was actually at Raleigh Little Theatre back in 2014, which was also my second ever review for BWW. This one in particular is directed by Lisa Jolley, who happens to be no stranger to the musical itself. She previously played the female authority figure track (i.e. Prudy Pingleton, Gym Teacher, and Matron) in the original Broadway production as well as at North Carolina Theatre in 2011. The latter of which featured a then-20 year old Ariana DeBose as Little Inez. Not to mention that RLT's producing artisitc director Michele Weathers' late husband, Todd Michael Smith, who originated the role of council kid, IQ, was one of two cast members to have been in the show for the entire Broadway run from 2002-09.

Lisa Jolley’s staging here comes off as very lively. She manages to pack a lot into the relatively small space of the Cantey V. Sutton Theatre and really pulls it off. The production numbers are wonderfully choreographed by Liz Sanford. Each of the design elements feels very evocative of the 1960s from Jenny Mitchell’s costumes to Ethan Drezner’s lighting to Shannon Clark’s sets. The live 11-piece orchestra brilliantly brings Marc Shaiman & Scott Wittman’s showstopping score to life. One of the reasons why Hairspray has proven to be a popular choice for stock and amateur is because it has a wide variety of roles that get their own opportunities to shine. The cast here is filled with locals who truly nail their characters, songs, dance moves, and humor.

At the center of it all is Tracy Turnblad. If she’s not well cast, the whole show doesn’t work. Thankfully, Alysse Miller gives a very winning performance in the coveted role. Kevin Ferguson, who previously played Tracy’s dad, Wilbur, in RLT’s 2014 production, is now playing Tracy’s mom, Edna. He gives such a memorable portrayal and also shares delightful onstage chemistry with Colby Freeman’s Wilbur. The latter of whom may be portrayed as more down to earth than usual, but still provides enough of the character’s trademark eccentricity. Mary Helen Phares is a total hoot as Tracy’s dorky best friend, Penny Pingleton. Not only that, but she also nails her butterfly effect of a character arc. Justin Jones proves to be very charismatic as Link Larkin, Tracy’s love interest and teen heartthrob. Nehemiah Ogbonna-Fulton makes for quite a suave Seaweed J. Stubbs, Tracy’s black friend who is discriminated against due to his skin color. Azhariyha Vaughan literally brings the house down as his mother, Mothormouth Maybelle. Cassie Ford steals the show as Velma Von Tussle, the snobby racist producer of The Corny Collins Show. As her equally racist and snobby daughter, Amber, Kiersten Paige brings quite a bit of determination to the role. Coltan Compton is such a burst of energy as Corny Collins. Chloe Taylor proves to be a real triple threat as Motormouth’s daughter and Seaweed’s younger sister, Little Inez.

Qualms some have had with Hairspray in recent years is the fact that it’s this white savior narrative. Whenever white savior narratives come on the scene, there’s all this discussion regarding who should be the center of the story, the whites or the people of color. Many feel it should be the latter as they tend to be the more interesting characters. Although what I feel makes Hairspray rise above the average white savior narrative is the fact its main character, like her black friends, is an outsider. She had to overcome her physical appearance to earn her spot on TV. Now, she wants to help a group of minorities do the same thing. Despite all the hauntingly relevant issues, this musical doesn’t beat you over the head with them at all. Instead, it presents them in such an entertaining way. Probably the best type of crowd-pleasing entertainment audiences could ask for. Something fun with themes that can also give audiences something to think about. If you ask me, that’s what makes Hairspray one of the defining musicals of the early 21st century. Raleigh Little Theatre’s current production not only delivers, but the crowd really goes wild for it.

Currently running through September 20th. For more information, please click here.

More on Raleigh Little Theatre

Upcoming Shows

Singin' In The Rain Sr.

10/15 - 10/18/2026

Recent Articles

Video: HAIRSPRAY Team from Raleigh Little Theatre Talks Show on WRAL

8/24/2026

Raleigh Little Theatre Sets Directors for HAIRSPRAY, ROSENCRANTZ AND GUILDENSTERN ARE DEAD

8/14/2026