Review: HAIRSPRAY at The Noel S. Ruiz Theatre, CM Performing Arts Center

Audiences are akin to being the “twelfth man” for theater in that their reactions can decide the level of a success for on any given night. CM Performing Arts Center’s run of “Hairspray,” this summer is a triumphant crowd pleaser, immersing you into an era of great music and great change.

Director and choreographer Kevin Burns’s vision for “Hairspray” included his signature energy in the cast from head down to leaping, dancing feet. As is standard for a Kevin Burns show, the amphetamine courses through the plotline and performances that it’s almost like watching a heated sporting event between arch-rivals when lines go back-and-forth.

Costume designer Jojo Minasi and assistant, Keith Jones, captured the 60s transition from the staid and teen angel styles that Amber wears to the slinky dresses with white go-go boots when Tracy takes over the stage.

Music Director/Conductor Samantha Free had a resounding pit that seamlessly accommodated the cast in pauses for laughter breaks.

Wig Designers Shea McMahon, Sarah Minto, and Dori Ahlgrim, could have told a silent version of this musical without losing any plot with the hairpieces that were used. In particular, the brazen and in desperate need of purple shampoo blond wigs on Amber and Velma conveyed what outliers the beauty queens are despite being the most popular girls.

Shea McMahon as Tracy Turnblad was charismatic and worthy of a stadium cheer with each step she took forward in loving herself. In “I Can Hear the Bells” McMahon’s longing drawl is reminiscent of Sandy’s “Hopelessly Devoted.” Her physicality of Tracy worked nicely as well-mannered but also gutsy. McMahon’s sensitivity and unflinching smile to the volatile seriousness of the story, which tackles the brutal and coded opposition to racial integration, was most concentrated when she announces her first change to the dance show will be “To make every day Negro day!”

Peter Rudilosso as Corny Collins was peppy and animated in his character with a bounciness that did double-duty pulling you into the musical and then again into the show he hosts. When opposite Christina D’Orta Muens as Velma Von Tussle the incestuous and impetuous fascination and struggle for power between the characters is hilarious.

Ryan Nolin and Don Dowdell as Edna and Wilbur Turnblad—I have never wished harder for a theatrical duo to find real love off-stage because I didn’t want the chemistry to end. Edna, typically a role in drag, was played with a big bosom and big laughs by Nolin, but more importantly as a doting mother coming to terms with her own body insecurity as her daughter fights against the accepted beauty standards. In heels (which I believe were classic pumps), Nolin towered a full head (sometimes two) over the entire cast making his increasingly elaborate costumes and powerful voice that much stronger.

Dowdell’s jokester, but loyal and willing to fight Wilbur anchored the duo and had fantastic voice work for the Baltimore resident. Dowdell was pure vaudeville in his ruse to infiltrate the Corny Collins show.

Olivia Schneider as Amber Von Tussle was an Elle Woods if we told the story from Vivian Kensington’s perspective. Her brattiness was endearing and the sugar-coated singing voice à la Lea Michelle for Amber was perfect for the façade the character is keen to maintain.

Scott Wysocki as Link Larkin strutted like a teen idol would with chicken head cocking and assured confidence. In “It Takes Two,” Wysocki croons and preens at Tracy with a Righteous Brothers key.

Sarah Minto as the awkward Penny Pingleton was a delightfully amusing character who always nailed the timing of Penny’s naïve punchlines and drew the eye to her with her robotic dancing.

Malika Batchie-Lockhart (best wig) as Motormouth Maybelle, in, hands down, the best wigs of the show, channeled equal parts Etta James and 80s Tina Turner in full costume. Although I know this was already structured into the original movie version, the fact that Amber, Velma, and Maybelle are all blond but on opposite ends of the spectrum for social justice, is a nice commentary on being able to carry tradition to the next iteration of society and assign new meaning. Also, Maybelle had no brassiness in her hair. Batchie-Lockhart’s thrilling voice added an extra layer of gravitas to “Big, Blonde, and Beautiful.”

Andrew J. Culbreath as Seaweed J. Stubbs had a fantastic voice that was on full display for “Run and Tell That!” with excellent alternating smoothness and raspiness in texture in his rendition.

Rebecca Olivieri as Prudy Pingleton and the jailhouse matron was a standout performance with her anxious Bible-thumping as Prudy. The scene where she catches Seaweed in daughter Penny’s room and dramatically faints was my favorite blocking of the entire show. As the jailhouse matron, Olivieri’s delivery of the line “All prisoners kindly turn in your tap shoes on the way out,” caught roaring laughter from the audience for the poker face that accompanied it.

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