author: Leonard Taube

Welcome to the 60’s!  If that isn’t enough to tell you what musical I’m referring to, your musical theatre card is hereby revoked.  It’s Hairspray, of course, and it’s being produced by Dundalk Community Theatre in residence at the John E. Ravekes Theatre located in the Lloyd College Center on the campus of CCBC Dundalk.

Blame John Waters for starting it all.  In 1988 he directed the comedy film of the same name and cast it with stars like Divine, Ricki Lake, Blondie and Sonny Bono to name but a few.  In 2002 it was turned into a Broadway musical and then, in 2007, a film version was released, again with a full compliment of stars including John Travolta, Michelle Pfeiffer, Christopher Walken, Queen Latifah and Zac Efron.    Whichever version you are talking about, the show follows pleasantly plump teenager Tracy Turnblad as she pursues stardom as a dancer on a local television dance show and rallies against racial segregation.

Directed by veteran John Desmone, DCT’s production will not disappoint those tried-and-true Hairspray fans.  Desmone, as usual, has put his knowledge of musical theatre to the test and directed a blockbuster stage production worthy of anyone’s time and trouble.  He cast well and walks that fine line between highlighting the musical comedy aspect of the show while poignantly and stirringly showcasing the racial tensions amid segregation that was going on in this era.  The balancing act works and it’s to Desmone’s credit that the message comes through loud and clear.

Musical Director Jim Kraus had a herculean task to perform, which was to teach the timeless score to the cast and ensemble, numbers which most of us die-hard Hairspray nerds can sing by heart.  Kraus handled the task with aplomb I must say, as the vocals are strong, the harmonies are evenly balanced and the voices shine through from “Good Morning Baltimore” to “You Can’t Stop the Beat”.  And the live pit led by Kraus and comprised of talented musicians Chris Kiser, Jamie Williams, Will Poxon, Steve Haaser, Jay Ellis, Frank Gorecki & Michael Kellam sounded glorious.

Choreography is not an easy job, but you wouldn’t know it by looking at these folks dance.  Choreographer Bambi Johnson, another musical theatre veteran, has put together some dazzling toe tapping dance routines to this dance heavy show.  The appearance is effortless, and the original choreography inspired.  Johnson never fails to amaze, and the hard work put in by the cast during countless dance rehearsals was well worth it.

Scenic/Lighting/Sound designer & Technical Director Marc W. Smith put together a realistic portrayal of Baltimore in the 60’s with effective set pieces.  I especially liked the typical Baltimore street complete with rowhomes.  The use of lights and gels perfectly lit the stage and scenes, and no discernable issues were noted.  Sound was a bit of an issue on opening night, with constant crackling coming from the speakers that got tiring after a while, which is unfortunate.  I think it may have been Tracy’s microphone, something I would think they would have fixed at intermission if they could, but the issue continued.  There were also several major feedback loud droning sounds in a couple of the scenes as well.   Let’s chalk it up to opening night bugaboos since the rest of the show was too good to dwell on that, even though sound is a vital part of the production and it was more than just a bit disconcerting.  Costume/Hair/Makeup Designer Tiffany Zellner ensured that the cast were appropriately 1960’s.

Topping the cast last is none other than the afore mentioned Tracy Turnblad played with plump, lovestruck, revolutionary gusto by Megan Smith.  Smith’s portrayal of the iconic Tracy is what we’ve all come to expect from this role, and Smith does not disappoint.  You will find yourself cheering for her from the moment she wakes in bed till the rousing last number.  Smith dances, sings and acts the heck out of the part and takes the audience right along with her.

Tracy’s mom, Edna Turnblad, is a hoot of a role and the one that most people think of when they think of this show.  Why?  Probably because it’s typically played by a man in drag and it’s the typically over-the-top performance that tends to stay with you long after curtain call.  Well step aside Divine, Harvey Fierstein and John Travolta, Codey Odachowski is in the house!  Odachowski is no stranger to drag, or the stage, but this production truly showcases this man’s incredible talent.  No bother that the diet pill is about to wear off, that ham that she sings about in the last number is more than just a foodstuff.  Odachowski shines in hamming it up for some scene stealing moments, and his vocals are clear and sonorous.

Edna’s husband Wilbur Turnblad, played by David Steinhorn, is an affable character who prefers his women on the “healthier” side.  A staunch ally of Tracy’s, he tells her to follow her dreams and even mortgages his business to post bail when an unfortunate situation breaks out at the conclusion of Act 1.  But for all the mild-mannered jokester husband/father scenes that Steinhorn is in, you will see him in a new light in the heartfelt number “Timeless to Me”.  Odachowski and Steinhorn take this duet to new heights with love, comedy and just plain adorableness.  This must be one of my favorite numbers in the show and, if you’re like me, this rendition will leave you applauding.  Loudly.

Tracy’s best pal, Penny Pingleton, an odd, socially repressed gal, is showcased with sufficient quirkiness by Hunter Lubawski.  Lubawski nails the role as the permanently punished Penny and it’s a joy to watch her go from awkward teen to confident young woman (think “I’m a pretty girl mama” from Gypsy).  Lubawski also knows how to play it up when she becomes lovestruck and it looks like she’s having a ball on stage.

Penny’s repressed, racially frightened mother, Prudy Pingleton, is played by Anna Holmes who also tackles some notable supporting characters as well.   Mother and daughter are well matched, and the way they both look and act is hilarious to see.   Like Penny, Prudy goes through a bit of change at the show’s end as well (very touching if you ask me) and, after all is said and done, one can’t help but feel for her.  That’s the mark of a good actress, and this jack-of-all-trades will surely have you laughing out loud many times from her heels with knee high socks to her turn as a dancing jail matron to a butch gym teacher (shower anyone?).

Who keeps the tunes spinning and the kids dancing?  Why, it’s Corny Collins of course!  Emcee of the “Corny Collins Show”, the man himself is played with charisma by Joey Hellman.   Hellman plays this role as it should be played, with heart and soul.  Yes, he’s the on-stage face of the show which bears his name, but he’s also, like Tracy, a visionary who wants to move the show in the direction of racial integration and who sees the tide of change coming.  Hellman is not afraid to take on the show’s producer, Velma Von Tussle, and his & Velma’s trading of barbs is a very truthful take on how things were in the entertainment industry back then.  His voice is a voice for change and not only that, but his singing voice is also very good (cue the catchy “Nicest Kids in Town” number).

OK, so let’s part ways with the show’s hustle and bustle, it’s time to talk about mother and daughter Von Tussle! Sorry for the rhyme, but I’ve got a little Motormouth Maybelle in me at the moment.  Velma is played by Coby Kay Callahan, and Amber is played by Katelyn O’Connor (also the show’s Assistant Choreographer).  Such a hoot!  Both are blonde, white, privileged and vain to a fault.  And oh, they get what they want…well, at least that’s what they are used to.  Velma is a former “Miss Baltimore Crabs” and performs that musical number with vocal gusto and even more so in the reprise with arms outstretched as she belts out and holds on to the last note of “crabs” while the set piece takes her back into the darkness.  She wants to keep the show “white” and “wholesome” against the backdrop of a new type of music being played and getting kids’ attention.  Seeing her world being threatened she resorts to plotting and cheating, but in the end will she truly understand that even she can’t stop the beat?  O’Conner is equally appalling (but in a good way) as the stuck-up poster child of the show who wants nothing else than to be crowned Miss Teenage Hairspray.  It’s hard to resist the urge not to run up on stage and slap the blonde off her (again, the mark of a good actress to make you dislike her so much).  Will someone please give this girl Cooties?

Amber’s boyfriend, later to become Tracy’s, is a young, handsome, Elvis-type crooner kid who yearns for his own recording contract.  The kid in question is played by Josiah Thompson.  His mannerisms, complete with toothy wholesome smiles and hand-to-hair motions are spot-on as the teen idol who is torn between the world he knows, and the world Tracy takes him to, so much so that his confusion makes for some of the show’s tension and drama.  Thomson’s “It Takes Two” will have the girls swooning in the aisles, and during the intro to “I Can Hear the Bells” he strikes a pose while walking away after bumping into Tracy (that he takes again at the number’s end) that brought notable laughter from the house.

But wait, there’s more!  This is a big cast.  Now we get down to the soul of the show.  Well, bring on that pecan pie and make room for Motormouth Maybelle, who also works for the television station where the Corny Collins show is produced.  She presides over the show’s “Negro Day”, a once-a-week show where young black talent is showcased.  She also has a record shop down near North Ave that serves as both the hangout for the town’s black youth and the place where plans are hatched to try and integrate the show.  As anyone old enough to recall knows, the 60’s were turbulent times, and this show plays homage to that fact.  Motormouth herself, a woman with a penchant for rhymes, is played by Deja Lewtar, a woman not only able to convey the struggle being faced but does so with a strong, gospel voice that will stir your soul.  Lewtar takes the audience to church with her powerful rendition of “I Know Where I’ve been”, a justifiably showstopping number, and with good reason.

Motormouth’s daughter, Little Inez, is played by Sedi Doxanas.  Inez is the girl who wants to dance on the show with the rest of the kids and serves to accent the show’s integration plotline.  Inez represents the next generation. Doxanas may not be that little (she’s a tall girl), but she does a good job with helping to convey the message of the show, not to mention being an accomplished singer and dancer for someone so young.

There are often times one standout jumps to the frontal cortex of my brain every time I think about a show I’ve seen and whom I feel compelled to feature.  And that person, my friends, is a Towson University graduate (BFA in Acting) taking on the role of Seaweed J. Stubbs who is the son of Motormouth Maybelle and big brother to Little Inez.  Tyler White is the person in question and, from the moment you first see him till the last time you see him, you simply can’t take your eyes away.   This young man is pure electricity.  His voice is strong, powerful and captivating, and man can he dance!  His voice combined with dance moves including acrobatic jumps make his signature number, “Run and Tell That”, another showstopper.  White’s moves and hip sways are soulfully rhythmic and hypnotic, a powerful burst of adrenaline when you least expect it that will get your head to shaking and your feet to tapping.  A youthful triple threat who is a joy to behold, from his taking command of the stage in the aforementioned number to his budding romance with Penny (“I had to get her away from her nasty ass mother!”), he is one to watch, both in this show and in, I hope, future productions wherever that may be.  He’s no stranger to shows, given his prior productions, but this guy needs to perform and be seen.  He’s that good.

The rest of the cast is a budding ensemble, too many to list here in this review (check out the show’s program when you go), but who serve as sundry and ancillary characters to the show from council members to policemen, from gym teacher to townsfolk.  All these men and women are terrific in their assigned parts, and since a strong ensemble can make or break a show, I could not detect one weak link.

So much of the show was positive, but as with the sound issues I did find a few of the scenes to lag a bit, most notably the dancing in both the high school detention room and in Motormouth Maybelle’s place.  In both the kids were slowly dancing to music playing softly the background and it seemed to go on forever.  I felt as if the pace could have been picked up a bit and the dialogue started after just a few seconds of dancing without sacrificing much in the way of plot for those scenes.

Hairspray plays through May 18, 2025.  Don’t delay because this show is sure to sell out.  Go spend some time with Tracy and her friends.  Take a trip back to the 1960’s.  Remember what it was to believe in something and stand up for it.  Tell your friends and family, but don’t walk…run and tell that!

Running Time: Approximately 2 hours and 40 minutes with one intermission

Hairspray plays through May 18^th 2025 Dundalk Community Theatre located on the campus of the Community College of Baltimore County Dundalk in the John E. Ravekes Theatre— 7200 Sollers Point Road in Dundalk, MD. Tickets are available for purchase by calling the box office at (443) 840-2787 or by purchasing them in advance online.