From show-stopping dance numbers to immersive sets, Broadway Across Canada’s production of Hairspray was captivating and energetic.
Written by Marc O’Donnell and Thomas Mehan, Hairspray sets the stage in early 1960s Baltimore. Teenager Tracy Turnbald desperately wants to be on the local dance TV show, The Corny Collins Show and against her mother’s wishes, she skips school to audition. After being turned away because of her weight, she bands together with Black people who also want a place on the show outside of the monthly “Negro Day.”
A timeless musical, Hairspray resonates today with its message of resounding change. The lively dance and musical numbers illustrate social progress’ vibrant energy and momentum.
Caroline Eiseman perfectly captured Tracy’s wit and confidence. In “The Nicest Kids in Town” reprise, it’s evident why the characters find Tracy so likable. Eiseman’s version of Tracy demonstrates impressive dance skills and seeks out other marginalized people in solidarity rather than allow the world’s cruelty to dull her kindness.
Scarlet Jacques encapsulated the teenage awkwardness of Tracy’s best friend, Penny, with stiff movements, intentionally lousy dancing and a constant look of joyful naiveté. Her portrayal of Penny immerses the audience in the teens’ world, reminding me of myself and other awkward teenagers from when I was in high school.
Although a minor role, Kaila Symone Crowder stood out as Little Inez, a young Black girl turned away from the Corny Collins Show because of her skin colour. Each time she appeared on stage, she brought the warmth and quiet determination that her character embodies.
The opening number, “Good Morning Baltimore,” opened in Tracy’s bedroom with Tracy lying down on an upright bed. This standing bed was a unique set choice that allowed the audience to see Eiseman’s face as she began singing, creating a deep connection with the audience.
The number also exemplified the show’s quirky humour. When Tracy sings about the flasher who lives next door, one of the actors mockingly flashes the ensemble. As she sings about rats dancing around her feet, a small stuffed rat is tossed across the stage.
Another stand-out performance came from Deidre Lang, playing “Negro Day” host, Motormouth Maybelle. Her performance was especially impressive during the song “I Know Where I’ve Been,” with lyrics acknowledging past and present pain while dreaming of a hopeful future. Lang demonstrated impressive vocal range and musicality, reaching the story’s core theme: Change is a constant, a source of hope and beneficial for all.
Tracy’s parents, Edna and Wilbur Turnblad, played by Greg Kalafatas and Ralph Prentice Daniel, respectively, had palpable chemistry and whimsy. In each shared scene, the wacky pair were convincing as a couple demonstrating openness to learn from their daughter.
Although the Turnblads’ “You’re Timeless to Me” duet started powerfully, it dragged on too long. From the set design and lighting, it seemed that producers didn’t know what to do with the long scene. The song started in Tracy’s house, but in the second half, the curtains closed and the actors were left on stage with no set pieces. This withdrew the audience from the Hairspray world, distracting from the otherwise incredible performance.
In some scenes, the set was arranged with the TV station and Turnblad home beside each other. The integration of two simultaneous locations allowed the audience to see the humorous reactions of Tracy’s family at home while the action unfolded in the studio.
There was a two-minute pause in the show due to a technical glitch in the second half but the actors responded professionally and the show carried on smoothly once the issue was resolved.
The show ended with the crowd-pleasing, “You Can’t Stop the Beat.” A personal favourite of mine, the song is the central force and heartbeat of the musical. Although the performance lacked spirit and energy initially, by the time Edna and Maybelle joined in for their verses, the song came alive.
Hairspray is a must-see that will resonate with audiences looking for hope, solidarity and a little whimsy.
Hairspray was on at the National Arts Centre until Nov. 19, 2023. BAC’s Frozen will come to the National Arts Centre stage on Feb. 22.
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