Opening night is tonight, also runs tomorrow and Saturday! ‘Hairspray’ at Redlands Bowl is fun, funny By Toni Momberger, Redlands Daily Facts IF YOU GO What: Hairspray, the Musical When: Thursday through Saturday, 8:15 p.m. nightly Where: Redlands Bowl, 25 Grant St. Cost: Bring cash for the red buckets at intermission. The Redlands Bowl summer musical “Hairspray” strikes just the right balance between giving us what we love about the movie versions and bringing us something new to love. Kudos to director Paul Jacques for not over-freshening this new American favorite. It was a total treat to review a musical I’d never seen live before. The benches started filling up in the blazing heat of early afternoon, and by curtain, accommodated a sizable crowd. The Redlands tradition of sneaking over to see the dress rehearsal to avoid the crowds has morphed the dress into a virtual opening night. There were even special dress rehearsal programs, which is just silly really. And there was a master of ceremonies. Eric Gruenler filled that role, and to fill the slot where his schedule says, “Be entertaining for several minutes,” he talked about what the Bowl offered the summer of 1962, which is when “Hairspray” is set. I will be the mistress of ceremonies again Aug. 15 and, having won the competition for raising the most money at intermission, (that really can’t be said enough,) I am now determined to win the most-entertaining-few-minutes award. You’ll see. “Hairspray” is set in Baltimore, the edge of the Mason-Dixon Line, in an era when acceptance of racial integration was swelling among the young generations who were butting heads with elders set in ways we now would find unacceptable. The setting is a television dance show, “The Corny Collins Show,” which observes a monthly Negro Day. The hero is Tracy Turnblad, our classic underdog ridiculed by the popular kids but undaunted in chasing her dream of being one of the Corny Collins dancers. Courtney Ladd was bouncing with sweet enthusiasm in her portrayal of this activist. She makes it believable that everyone in her path fell under her spell. Her vocals on “I Can Hear the Bells” are a highlight of the show. There are lots of highlights, actually. The show is well produced. Everyone was easy to understand. The simple set didn’t stop it from being visually fun and most of the actors were smooth in the triple threat of acting, dancing and singing. Tracy’s mother Edna, (a part traditionally played by large men), was played hilariously by Travis Rhett Wilson. My only criticism of his part is that he’s too pretty after his makeover. He channeled just enough Divine (the actor who originated the role) to wink at John Waters enthusiasts. Every moment he was on stage I was happy. He is one of the three best castings of the show. Tim Martin as Corny Collins is one of the others. He was satisfyingly plasticine and over-charming. He danced like it was easy and had strong stage presence. The third is Annalise Staudt as the awkward but eager sidekick Penny Pingleton. She gave us exactly what this character is without copying anyone else’s interpretation. Neither of the movie Pennys made the character this noticeable. She used her voice, her face, her body and even her breath to effect comedy. She makes non-funny lines funny. This girl will be a star. Link Larkin, played by Michael Walton, is the leading boy. He played the kind, accidently funny hunk just right. In Act II when he shows up at the jail I was in hysterics. During my Pre-Show video interview with Jacques, he positively squirmed when he told me how much I would love the Dynamites, and I discovered why. Props to Dianna Free, Raelene Fulford and Rhiannon Little-Surowski. Kimberly Session as Motor Mouth Mabel had the audience wowing with her bump-and-grind singing style and rhyming tough attitude that let a touch of affectionate sneak in. She is fabulous. Her solo in the second act is one of the other big highlights. About none of the punch lines fell flat. The comedy, both written and physical, was well delivered and well received. There are a few love-story threads, all of them unconventional and beautifully developed. There is a live orchestra, which I appreciate. I especially appreciated the sax player in “Without Love.” Assistant director is Tom Hurst; music director is Rick Hoglund; choreographer is Hollee Cool; costume manager is Catherine Erickson; and stage manager is Cheryl Starr. The story was written by John Waters; the book by Mark O’Donnell and Thomas Meehan; and music by Marc Shaiman. Finally, I have a big scold for the audience members who talk or start walking around while the pre-intermission speaker is at the microphone. That is a person up there — a community member, scared to stand in front of thousands of people and who labored over writing a speech and stood nervously backstage waiting to go on. Do not go into the aisles or engage in conversation. I can tell you from experience how awful that is. Intermission doesn’t start until the speakers are done. Please remain sitting quietly. redlandsdailyfacts/arts-and-entertainment/20140729/hairspray-at-redlands-bowl-is-fun-funny?source=topstoriesrot
Posted on: Thu, 31 Jul 2014 22:49:20 +0000