By Nate Brown
The weather outside the Horton Grand Theatre while waiting for San Diego Musical Theatre’s Hairspray was typical of downtown San Diego almost any time of year – pleasantly warm with a touch of humidity. The crowd gathering to buy tickets and enter the theater showed growing excitement, even youthful exuberance, as they talked under the brightly lit awning of the theater.
Upon entering I was immediately greeted by the gracious staff of the Horton Grand Theatre, and in the few dozen steps it took to get from the front door to my seat, I was welcomed by these friendly folks half a dozen times. The 250-seat theater feels intimate and charming, typical of the “Off-Broadway” theaters you see in New York. Even the back row of seats had an excellent view of the stage, and as I settled into my place, I realized that tinny 60s tunes were playing on a golden 60s radio sitting alone on the front of the stage.
I was surprised as other patrons began filing in, to find a spirit common to hometown community theaters across the country. Right up to the dimming of the lights, teenagers and adults talked excitedly and rapidly of their friends performing this evening and of the thrill of seeing them on stage.
Hairspray is set in 1960s Baltimore, and carries a message about America’s struggle with racism and intolerance that is timeless and unfortunately still relevant today. The Corny Collins Show is a segregated television show (typical of the early 1960s) which has a monthly “Negro Day” as its only recognition of Baltimore’s minority demographic. Patterned after The Buddy Deane Show which aired until 1964, the mostly-peaceful protests in Hairspray eventually lead to integration – something that The Buddy Deane Show refused to do.
Under the direction of J. Scott Lapp, San Diego Musical Theatre’s Hairspray is bright and pulsing with electricity. As the curtain rises, the lighting design by Michelle Miles, sound design by Kevin Anthenill, and scenic design by Mike Buckley draw you immediately into the show.
Bethany Slomka as Tracy Turnblad and John Massey as Edna Turnblad are shining stars in a very bright cast. The joy, energy, and hunger that Slomka brings to her dancing, vocals, and timing, easily makes you forget that she’s supposed to be “less cool” than the other students on the stage. Massey, on the other hand, creates a character in Edna that is comfortably feminine – not the “man playing a woman” that often comes through in this role. His timing is impeccable and his voice never feels affected. Massey isn’t trying to act like a woman, wife, and mother…he just is one.
Massey as Edna and Steve Gunderson as Wilbur Turnblad are by far the couple with the best chemistry onstage. Gunderson creates a supportive, quiet strength for both Edna and Tracy that pulls each of them up throughout the performance. Massey and Gunderson together feel like a happily married couple, the kind we all want to be when youthfulness is no longer the focus of life.
Slomka as Tracy, and Nick Eiter as Link Larken, are wonderful in all the awkward ways. Eiter feels authentically high-school-esque in the role, and brings a vulnerability to Link that is refreshingly un-plastic. Together they arc from being uncomfortable around each other through discovering their relationship, but the attraction never quite solidifies onstage – occasionally looking as though they are pretending to like each other rather than being drawn to each other. Nevertheless, Slomka and Eiter are energetic and show great comedic timing.
Emma Nossal as Penny Pingleton, and Kenneth Mosley as Seaweed J. Stubbs, are the next power couple, and they don’t disappoint. Nossal radiates terrified excitement throughout the show, and her enthusiasm for everything is contagious. Mosley has a smooth, flowing manner to his actions and voice that pull you into his performance and make you want to stay. As a couple, there always exists an underlying fear between them that doesn’t always work. It’s clear they want to be together, but not always clear as to what is connecting them emotionally.
Lauren King Thompson as Amber Von Tussle, and Eileen Bowman as her mother, Velma Von Tussle, do well as the principal antagonists in Hairspray. Thompson has keen comedic timing, and displays the mimicry of learned intolerance very believably. Bowman is everything you want in Velma – pride, prejudice, and lots of character. Thompson does lose some words to her exuberant vocalizations, but she nails the part of Velma.
Eboni Muse is “big, blonde, and beautiful” in her portrayal of Motormouth Maybelle, and portrays the wise matron so well that if everyone in the cast called her “mom,” it wouldn’t be surprising. Zackary Scot Wolfe as Corny Collins, is all smiles and patronizing-passive-aggressiveness in his role, portraying the 60s show host with a style reminiscent of Casey Kasem and Dick Van Dyke. Janae Parson as Little Inez, is an adorable powerhouse who leaves you wishing she had more lines and songs.
The ensemble for Hairspray is vocally solid, physically capable, and emotionally present throughout the show. When they are onstage, you know the performance will go well. The choreography by Jill Gorrie is, by turns, simplistic and complex and layered, filling the stage vigorously. The music, directed by Don Le Master and conducted by Andrew Orbison, is flawless and provides a solid backbone.
It should be noted that Gunderson and Debra Wanger (Prudy Pingleton), play several named roles in the show. Both do well in bringing distinct and humorous characterization to each of their roles, but in hamming it up they lose some of their authenticity.
San Diego Musical Theatre’s Hairspray is a fun, exciting, nostalgic, and wonderful show. I enjoyed myself a great deal and being able to review it for the company I work for in Utah was a real treat. I hope to be able to see more shows in San Diego if they are the same caliber as their delightful Hairspray.
San Diego Musical Theatre presents Hairspray. Book by Mark O’Donnell and Thomas Meehan, Lyrics by Scott Wittmann and Marc Shaiman, Music by Marc Shaiman.
Horton Grand Theater, 444 Fourth Avenue, San Diego, CA, 92101
August 3 – September 2, 2018, Wed-Thu 7:30 PM, Fri-Sat 8:00 PM, Sunday 2:00 PM
Tickets: $60
Contact: 877-778-1258 info@sdmt.org
San Diego Musical Theater Facebook Page
Hairspray Facebook Event
Recommended for teens and older, due to sexually suggestive themes, actions, and emphasized innuendo.
Reviewer Nate Brown says: “Under the direction of J. Scott Lapp, San Diego Musical Theatre’s Hairspray is bright and pulsing with electricity. As the curtain rises, the lighting design by Michelle Miles, sound design by Kevin Anthenill, and scenic design by Mike Buckley draw you immediately into the show.”
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