Redux Review: Touring 'Hairspray' Remains a Great '60s High

Editor's note: This edited review of "Hairspray" was published on the touring company's first visit to Boston. The three-day engagement this weekend at the Emerson Colonial Theatre marks it return. There have been a number of cast changes since the tour first came through in October 2022, notably the part of Edna Turnblad, played by Nina West, is now being played by Greg Kalafatas. Click here for an interview with Kalafatas. For more information, follow this link.

"Hairspray" remains a great '60s high, an effortless mix of camp and social commentary that honors it source – John Waters 1988 film – in an old-school musical comedy format. When it premiered 20 years ago, it took Broadway by storm, winning the Tony for Best Musical (amongst its 8 wins) and running some 6 years. But those thinking it may have dated in two decades need to think again, with the success of "RuPaul's Drag Race," the movement towards body-positivism and LGBTQ+ equality, the show has a fresh resonance. In many ways it can be considered the first "Rusical."

The happy news is that the non-Equity revival is pure fun – a hoot from beginning to end. It may not have the slickness of the original production: David Rockwell sets have been reduced in size with pieces being moved around by cast members and, at the performance I attended, there were a number of botched lighting cues. That aside, this "Hairspray" compensates in other ways, namely in casting and performance.

Both film and musical tell the story of how Tracy, a Baltimore teenager in 1962, sets out to integrate Baltimore's local television teen dance show. Called "The Corny Collins Show," it a throwback to Dick Clark's "American Bandstand" that was lovingly recreated in Waters' film and in this show. Dance shows like this, which were broadcast staples in the 1960s, are amongst the many cultural references in the book by Mark O'Donnell and Thomas Meehan (the diet aid Metrecal, Jackie Gleason, and the Gabor sisters) turn up and get laughs from those with long memories. But what O'Donnell and Meehan do extremely well is capture the essence of Waters' film and distill it as an old-school musical-comedy, something that has been missing from the musical theater in the past few years. They also play up the social commentary, which follows how Tracy makes an alliance with the Black characters for social change. Happily the musical also embraces the social meme to body-positiveness that has emerged in the past few years. Perhaps Waters never quite intended it that way, but it shines through in this revival as both Edna and Tracy embrace their size with positive energy.

Hearing the score again is also enormous fun. Marc Shaiman's music cheekily pays homage to pop music from the period, specifically early Motown and R&B; and the lyrics (co-written by Shaiman and Scott Wittman) are spot-on. Is it possible to resist numbers like "Welcome to the '60s," with its Supremes-like trio supplying back-up as Tracy and Edna celebrate their body positiveness? Or "You Can't Stop the Beat," the irresistible up-tempo finale with quite spectacular choreography by Robbie Brody from Jerry Mitchell's original dances?

That "Hairspray" resonates more today is due to our cultural moment. Its more serious subtexts deal with racial equality that brings to mind the Black Lives Matter movement. That it does so through campy humor only points to the way its creative team bring their queerness into the adaptation. Just like episodes of "RuPaul's Drag Race" mix broad humor and over-the-top theatrics while relaying an important message about empowerment, so "Hairspray" makes its more serious points through over-the-top camp. It remains as fresh – in all meanings of the word -- as it was 20 years ago.

"Hairspray" runs January 19 – 21 at the Emerson Colonial Theatre, 106 Bolyston Street, Boston, MA. For more information, follow this Click here