Wheelock’s ‘Hairspray’ has its own twists and shouts - by Sheila Barth

Spoiler alert: Wheelock Family Theatre’s rollicking production of multi-ward winning, two-act “Hairspray, The Broadway Musical,” is more than a feel-good, happy-go-lucky rock ‘n’ roll fest. Like the original production, which ran almost seven years on Broadway, this version tackles a few heavier issues, but with a subtle approach.

The musical is a fabulous romp back to 1962, in slow-to-integrate Baltimore, Md., when rock ‘n’ roll, bouffant hairdos, TV dance parties, sock hops, and – unfortunately – racism and societal put-downs ruled. The musical also tackles conformity, bullying, and a rapidly-changing society, as rock ‘n’ roll skyrocketed off the charts, and its “race,” “colored,” or “n…..” music horrified conservative white parents.

Any teen who didn’t look, dress, and sound like each other, especially those who were heavyset, plain-looking, geeky, African-American, individualistic, gay, and God-knows-what else, were jeered at and shunned.  “Hairspray” touts the idea that being different can be a good thing.

Wheelock director Susan Kosoff ventures further into controversy by casting lovable star Jenna Lea Scott in lead role of chubby, teen-age, activist heroine, Tracy Turnblad. With her infectious, fresh-faced effervescence and giggly exuberance, Scott’s ideal here.

Like Scott, who was born in South Korea and adopted by Caucasian American parents, Tracy is also adopted from Asia by American odd couple, Wilbur and Edna Turnblad, of Baltimore. And they’re more odd than you think. Wilber is the affable owner of the Har-de-Har Hideway Hut joke shop, while his agoraphobic, hefty “wife,” Edna, is a cross-dressing male, who’s ashamed of being overweight. To earn money, stay-at-home Edna does other people’s ironing and laundry, but had hoped to someday become a fashion designer. Veteran actors Robert Saoud as Edna and Peter A. Carey as Wilbur are a delightful duo, especially in “You’re Timeless to Me,” the show’s biggest hit number.

Harmoniously accompanied by Music Director Matthew Stern and his merry musicmakers, “Hairspray’s” large, energetic cast embraces and welcomes theatergoers, with Laurel Conrad’s energetic choreography, dancing in the aisles and onstage, swinging, swaying, and singing “Good Morning, Baltimore,” then introduces us to “The Nicest Kids in Town,” all-white cast of Corny Collin’s TV dance show. As Collins, Mark Linehan is duly unctuous.

But Amber Von Tussle, spoiled, teen-aged daughter of show manager Velma Von Tussle, isn’t nice. She’s catty, cruel, egotistical, and a chip-off-the-old block, like her mother, Velma, who proudly touts her former beauty title, in “Miss Baltimore Crabs” . Popular star Aimee Doherty as Velma and Jane Bernhard as her carbon copy daughter are marvelously mean and downright despicable.

While Tracy is a big, frontline activist, gathering support and crossing race lines to integrate the show, her overly-protected pal, Penny Pingleton, creates her own chaos by falling for African-American super dancer, Seaweed J. Stubbs, (lanky John Allen), son of Baltimore’s black music radio superstar, Motormouth Maybelle (Gamalia Pharms). Tyla Colier as Seaweed’s younger sister, Little Inez, also shines.

But Jennifer Beth Glick as Penny, is a perpetual scene stealer, with her gum-cracking, slump-shouldered, squeaky obeisance to her bigoted mother, Prudy, and her metamorphosis as a glittery “checkerboard chick” .

North Shore favorite actress, Cheryl McMahon, is also outstanding in her roles as Prudy Pingleton, big size fashion entrepreneur Madame Pinky, and a mean-spirited gym teacher, who encourages her students to abuse their special education and African-American counterparts in a vicious game of scatter dodge ball.

The three moms, Turnblad, VonTussle, and Pingleton, and their daughters shine in their contrasting triptych number, “Mama, I’m A Big Girl Now”.

Although Michael Nortardonato as Link Larkin, Amber’s narcissistic boyfriend and TV dance party idol, sings and dances well, he does not ignite enough romantic sparks with his newfound love, Tracy. However, her dreamy rendition of “I Can Hear the Bells” is riotous.

Treat the family to Wheelock’s funny, rollicking “Hairspray”. From start to finish, they welcome you to those turbulent ‘60s, making sure you don’t miss the beat, dancing and singing in the aisles with them.

BOSTON GLOBE "ensemble turns Hairspray into a dance party"

An irresistible score combined with an outstanding cast make the Wheelock Family Theatre’s production of “Hairspray” a highlight of the theater season.

Marc Shaiman and Scott Whitman’s musical adaptation of John Waters’s 1988 movie celebrates individuality in all its glorious forms. Shaiman’s rock score references just the right musical themes from the 1950s and ’60s while making fresh new songs that serve the musical theater storytelling format. Wittman’s lyrics are hilarious, working period-specific pop culture references into rhymes that also move the story along and develop this quirky crowd of characters.

And what a crowd they are. Director Susan Kosoff and musical director Matthew Stern have cast the show with a healthy mix of familiar faces and new talent to populate Baltimore circa 1962, and every performer seems to be inspiring the others to up their game. No fewer than three dozen performers sing, dance, and act up a storm on the Janie E. Howland’s brightly colored ’60s-style variety show set, and thanks to Kosoff’s direction and Laurel Conrad’s sleek choreography, these dancers make it look easy. Stern conducts a tight, six-piece band through the high-energy score with joyful ease.

Jenna Lea Scott (who was so good in last year’s Lyric Stage production of “Avenue Q”) delivers a Tracy Turnblad with the perfect combination of effervescence and sincerity without being cloying. Her Tracy, a big girl with even bigger hair, is as believable when she swoons over heartthrob Link Larkin as she is when she resolves to be judged for her dancing talent, not her plus size, on “The Corny Collins Show.” The earnest, unaffected way Scott turns Tracy’s demotion to special ed into an opportunity to make new friends, and learn some slick new dance moves, wins the audience’s hearts, to say nothing of her performance of “Good Morning, Baltimore” and “I Can Hear the Bells.”

Scott’s Tracy also has a warm relationship with her parents Edna (Robert Saoud) and Wilbur (Peter A. Carey), as well as her best friend Penny Pingleton (an outstanding Jennifer Beth Glick), which gives “Mama I’m a Big Girl Now” and “Welcome to the ’60s” a lot of heart — to say nothing of the soulful sound from the trio of Dynamites (Maritza Bostic, Ciera-Dawn Washington, and Kerri Wilson-Ellenberger).

Boston Conservatory student Michael Notardonato makes Link Larkin the perfect teen idol (with a killer falsetto), whose “It Takes Two” is the first of several show-stoppers. Despite his pop icon aspirations, his Link is grounded enough to fall for the no-nonsense Tracy, despite his role as arm-candy for Amber Von Tussle (Jane Bernhard), daughter of “The Corny Collins Show” producer Velma Von Tussle (Aimee Doherty).

Doherty has never sounded better (and that’s saying something), but she also makes the scheming Velma Von Tussle a charming villainess, and her castanet-like choreography for her “Miss Baltimore Crabs” nearly brings down the house.

There is not one weak link in this ensemble, so it seems almost unfair to single out performers, but Gamalia Pharms, a Wheelock regular, is inspired as Motormouth Maybelle, Jon Allen is a seductively loose-limbed Seaweed, Tyla Collier grabs our attention with her Little Inez, Cheryl McMahon is pitch perfect in multiple roles, and Mark Linehan is an appropriately slick Corny Collins.

“Hairspray” takes on some big issues, but does it with so much humor and optimism it will send you out of the theater singing and dancing for joy.

Review by Terry Byrne.
Photo by Gary Ng.
Jenna Lea Scott, Jon Allen.

The Globe attends ANNE OF GREEN GABLES

“Anne of Green Gables,” the story of an orphan girl adopted by an aging brother and sister on idyllic Prince Edward Island, has been charming readers since it was first published in 1908. The book has sold more than 50 million copies, and has been adapted several times for film, television and the stage. This musical version of the story now at Wheelock Family Theatre is the one that has been performed in Charlottetown in the Canadian island province every summer since 1965, and while the story may be timeless, this musical feels dated.

Despite some terrific ensemble work and a feisty performance by Jennifer Beth Glick in the title role, Norman Campbell’s score is melodically limited, so few of the songs stand out. The story line follows Lucy Maud Montgomery’s novel, but the approach is superficial, as if we’re getting a selection of unrelated highlights: Anne’s temper gets her in trouble; Anne accidentally gets her friend drunk on homemade wine; Anne worries that she’s ugly and dyes her hair. The incidents all appear in the novel, but they aren’t presented here with any dramatic tension or sense that we are on a journey with these characters.

Glick does a terrific job illustrating Anne’s oversize imagination and forthright manner in the song “Gee I’m Glad I’m No One Else But Me.” She gets lots of support from Anne’s best friend, Diana Barry (Jenna Lea Scott), even though their duet, “Kindred Spirits,” sounds like a weak knockoff of any number of Jerry Herman songs (think “Mame,” or “Hello, Dolly!”). Also, Anne’s love-hate relationship with Gilbert Blythe (Bradley Jensen) and his jealous girlfriend, Josie (Kaitee Tredway), becomes the focus of the story, distracting attention from Anne’s relationship with her adopted family, Matthew Cuthbert (Robert Saoud) and his sister Marilla (Jacqui Parker).

Saoud does a lovely turn as the quiet, gentle Matthew and even though the lyrics to his ballad, “The Words,” are soppy with sentiment, Saoud’s direct delivery finds some sincerity there. Parker is also strong as the stern Marilla, whose disappointment about receiving a girl orphan rather than the boy she and Matthew requested, slowly turns to affection.

The musical’s best moments come in the production numbers featuring the children in the cast. Choreographer Laurel Conrad has devised combinations that highlight the talents of the Wheelock ensemble, particularly “Where Did the Summer Go To?” and the “Pageant Song.” But director Jane Staab is overly fond of parading the cast up and down the aisles, which slows the action down and pulls the audience out of the story.

At intermission, Emma Harris, 7, of Milton said she was enjoying it, but wasn’t quite sure how it would all turn out. But she confided, “I think Gilbert and Anne are going to like each other.” There’s nothing wrong with that, but by taking the focus off Anne’s indomitable spirit, we lose Montgomery’s theme of a young girl’s struggle to find a balance between her imagination and social expectations.

-Terry Byrne