Bad Hair Day! by Huxley Westemeier

 Hairspray - Bad Hair Day! by Huxley Westemeier

Broadway productions are choosing to lean into more sincere and relevant storylines, yet Hairspray’s new tour remains as simplistic as when it opened on Broadway in 2002. The story follows Tracy Turnblad and her quest to perform on the “Corny Collins” dance show amidst a backdrop of segregation in 1960s Baltimore. While the technical elements, sets, and lighting would have created an immersive theater experience twenty years ago, the 2023 production feels cheap, oversimplified, and plagued with a multitude of filler scenes, obesity jokes, confetti cannons, and cartoonish set pieces that detract from the storyline of racial discrimination.

All of the actor’s performances were technically perfect, but lacking extra spark, which was likely a result of poor direction from Matt Lenz (Charlie and the Chocolate Factory). The stage and dance numbers felt sparse throughout the show, and emotional moments were hastily interrupted by unwarranted and insensitive jokes that usually fell flat. Highlights in the cast were Niki Metcalf (Tracy), who was believably charismatic with bright energetic vocals in “Good Morning Baltimore”, and Charlie Bryant III (Seaweed) showcased his incredible tenor voice and fluid dance moves in “Run And Tell That”. Despite these two standouts, the rest of the cast’s performances felt contrived, like they were portraying corny caricatures of preexisting stereotypes. While Hairspray and the source material has a reputation for being fun and cheesy, I still expected more from the obviously very talented ensemble and supporting roles.

The score by Marc Shaiman and Scott Wittman was upbeat and well orchestrated, but most of the songs in Act Two felt repetitive. The technical design was a complete disappointment. David Rockwell's (Kinky Boots) set design consisted of multiple sliding house facades (that shook violently back and forth whenever being moved) and scrims that provided the backdrop for a majority of the scenes, while an LED wall created psychedelic color schemes. Most of the visual elements and lighting effects felt cheap and thrown together, and not like they belonged in a multi-million dollar tour. William Ivey Long’s (The Producers) costumes successfully portrayed the 1960s technicolor era, but the audio experience was lackluster and didn’t feel engineered for a large theater. I couldn’t understand any actors who sang with a “1960s radio” vocal effect, and there were countless unprofessional and annoying microphone glitches.

Hairspray is a confusing show. While the story is engaging and the actors are trying their hardest despite limited direction, the entire production didn’t live up to the standard I expect from a current professional theatrical tour. All of the technical elements felt cheap, which pulled my attention away from the characters and plot. If you are willing to lower your theatrical expectations and fall into the outlandishly overdone cartoon world of 1960s Baltimore, I’d recommend seeing Hairspray. But, if you’re expecting to be immersed in deep themes, breathtaking moments, or stunning visuals, I’d skip it.