‘Timeless’ Hairspray still holds

Can you hear the bells? That ‘60s R&B and the hiss of aerosol cans is the sound of “Hairspray” the musical at Riverwalk Theatre. Riverwalk last staged the retro-themed hit in 2011 to an audience and critical fanfare and its reprise is welcome.

Based on John Waters’ 1988 cult classic film, the musical, written by Mark O’Donnell, Thomas Meehan, Marc Shaiman and Scott Wittman, is just as relevant and funny as it was when the show debuted in Broadway in 2002. Although this staging with a fresh cast and crew doesn’t quite have the same spark and cohesion of Riverwalk’s 2011 production, it still moves and shows the potential for greater things to come.

“Hairspray” tells the story of Tracy Turnblad (Kayla Henry), a fearless teenager living in 1962 Baltimore, and her quest to join — and ultimately integrate — the cast of the local TV program The Corny Collins Show. Fueled by her family and friends, a killer soundtrack and an enviable level of self-confidence and integrity, Turnblad ultimately inspires her friends and foes alike to embrace change, diversity and themselves.

As Tracy, Henry blends the perfect amount of unshakable optimism and quirky charm along with tight dancing. Henry’s voice wavers sometimes, but her chemistry with her onstage family and friends powers the production from scene to scene.

As Tracy’s mother Edna, Drew Doman may be dressed in drag (per show tradition), but his portrayal of a protective, yet insecure mother who struggles with her body is honest and straight. Doman shines along with stage husband Wilbur (Luka Pawsek), particularly in Act II’s Cole Porter send-up “You’re Timeless to Me.”

Meghan Eldred-Woolsey brings the requisite sneer to show baddie Velma Von Tussle. As the producer of "The Corny Collins Show" who makes statements such as, “They’re kids. We need to steer them in the white direction,” Von Tussle is already a broad caricature of a racist stage mom. Eldred-Woolsey’s choice to play Von Tussle with the cackle of a Disney villain, plays up the show’s humor, but it takes some of the bite out of the satire. That said, she and her entitled daughter Amber (Taylor Rupp), play the perfect “mean girl” couple to root against.

Other standouts include Janell Hall as Motormouth Maybelle and her stirring civil rights-inspired ballad “I Know Where I’ve Been,” Sean Holland II as the slick footed Seaweed J. Stubbs, Alex Quinlan as the smooth-talking Corny Collins, Taren Going as Tracy’s daft friend Penny Pingleton and Robert Mueller (not that one) as Baltimore’s Elvis-lite Link Larkin.

Amanda Tollstam’s tight choreography, inspired by the show and film, is effortlessly executed by the cast and ensemble of over a dozen dancers. Their moves seem even smoother with help from Ashley Hampton’s pastel popping costume design and Lori Bailey-Smith’s perfectly coiffed hair design. Other production elements such as Aja Jenk’s set design, lighting design by James B. Brunk III and Bernie Lucas’ properties design bring the early ‘60s Technicolor world to life.

Where “Hairspray” struggles is to be heard and to keep pace. A few years ago, Riverwalk sequestered its pit orchestra from onstage to a room up the hall to better balance the singers with their musical accompaniment. Overall, this decision has aided the sound mix for musicals. However, Friday’s production mix sounded muddy and dull with the audience struggling to hear both the singers and the orchestra led by Angie Constien-Schwab. Friday’s performance also struggled to maintain its energy following dance numbers, with the dialogue lacking the kick of the choreography. 

Overall, first-time director Sarah Hayner should be proud of her accomplishment. Broadway musicals are a logistics nightmare to stage, but Hayner with her cast and crew make that feat — along with the height of their hair — appear effortless.