Hairspray - An Electric “Welcome to the 60s” by Moriah Weiss

 Hairspray - An Electric “Welcome to the 60s”

This quirky 60s-themed musical was first a movie directed by John Waters, later brought to the stage in 2002 by Mark O’Donnell and Thomas Meehan. The story follows Tracy Turnblad as she enters a world of fame on the Corny Collins show while advocating for those the show has excluded: the Black community which has been turned away due to segregation, and others who don’t fit societal expectations. The production at the Minneapolis Orpheum on January 10th boasted excellent dance numbers and a tangible feeling of community as the cast came together to fight for what’s right.

Geometric lights and vibrant set pieces breathed life into this 60s-themed setting. The dances were elevated by moving, colored lights, occasionally with the silhouettes of cast members, which gave these songs the feel of being in a music video. Relatively simple set pieces, none of which were permanent, were expertly handled by the crew and cast members, making transitions seem seamless. The costume pieces were excellent reflections of each character’s personality, from Link’s suave suit to Amber’s tacky dresses. Some solo numbers sounded muffled due to microphone problems so some songs were difficult to follow.

The cast showed a chilling display of passion, either for their dancing in “You Can’t Stop the Beat" or fighting for desegregation at the end of Act 1. This cast came together in big numbers with the kind of passion and unity that left me both stunned and hopeful for the unraveling of the rest of the plot. Andrew Levitt AKA Nina West from RuPaul’s Drag Race was a showstopper as Edna Turnblad, whether it be her vocals or comedic timing and nuance, a performance expertly ranging from devoted wife to a woman finding her self-confidence. Penny (Emery Henderson) also shone with her own brand of quirky comedy, never stealing the spotlight from her scene partners but adding perspective to each scene she was present in. Seaweed (Charlie Bryant III) with his easy-going manner and the others at the record shop were by all counts the best dancers on stage; their moves were clean and energized without being over the top. They deserved to be on Corny Collins from the very start.

Edna (Levitt) and her husband had chemistry rivaling that of Morticia and Gomez Addams and Penny’s journey with Seaweed unfolded at a perfect pace, with painfully realistic awkwardness but sincerity. On the other hand, Tracy's (Niki Metcalf) and Link’s (Nick Cortazzo) fast, love-at-first-sight relationship was, understandably, underdeveloped. The challenge with these roles is to have immediate chemistry, and while it was clear they had feelings for each other, it felt rather one-sided from Tracy. Yes, that’s precisely the nature of their relationship at the start of the show, but it felt like it never really progressed from there, romantic dialogue sounding like trivial platitudes in comparison to other relationships. Tracy’s vocals, while her voice fit the character perfectly, were occasionally off-pitch and some belts seemed a bit strained.

As someone who is wary of the unnecessarily energetic nature of most musicals, I was pleasantly surprised by his production. I was impressed with its natural irreverence but also how it manages to include such vital messages at the same time, which gave it some unexpected but welcome depth in terms of segregation, body positivity, prejudice, and self-confidence, messages that hold true even over twenty years later. If you’re looking for a feel-good show with some good lessons to ponder, then join the kids of Corny Collins and dance the night away.