Director Kari Hayter breathes such fresh new life into the Best Musical Tony-winning Hairspray that no matter how many times you’ve seen the 2003 Broadway smash, it will feel like your first.

That’s not to say that Hayter (who’s already made Chicago, Parade, Rent, and Urinetown her own) doesn’t have terrific material to begin with.

Based on John Waters’ 1988 cult film of the same name, Hairspray (book by  Thomas Meehan and Mark O’Donnell, songs by Marc Shaiman and Scott Wittman) tells the tale of a pleasingly pump progressively minded teen named Tracy Turnblad with dreams to a) dance on Baltimore’s The Corny Collins Show, b) make “Negro Day” more than a once-a-month Corny Collins event, and c) win the love of local teen heartthrob Link Larkin, three seemingly impossible wishes that just might come true if the irrepressible Tracy has anything to say about it.

Director Hayter signals from the get-go (a “Good Morning Baltimore” that dares not to start off with Tracy in bed) that her vision will be uniquely her own, re-imagining Tracy’s journey from misfit nobody to ground-breaking Baltimore superhero as one taking place on the Corny Collins set itself, beginning with a show-opening show-stopper that has the entire cast singing and dancing as they did on the live-in-living-color variety hours that were a weekly 1960s TV staple.

Not only does this approach (enhanced every step of the way by Matt Scarpino’s stylishly sleek original scenic design) prove as innovative as new approaches get, it makes for as seamless a Hairspray as I’ve seen, with choreographer Christopher M. Allbrecht giving his cast of twenty-eight moves that would do the Peter Gennaro Dancers proud in one groovy production number after another.

Luzma Ortiz’s Tracy is cute, bubbly, feisty, cuddly, and smart … and so beguiling that it’s no wonder young Broadway vet Neil Starkenberg’s irresistibly goofy charmer of a Link hears the bells.

A spectacular Roland Rusinek makes Tracy’s amply proportioned stay-at-home housewife mom Edna very much her own “grande dame in frump’s clothing,” giving the character originated on screen by Divine and on stage by Harvey Fierstein heaps of maternal love, grit, vulnerability, and a palpable passion for her man, played with wonderfully wacky warmth by Michael Grenie.

Janna Cardia’s big-haired, big-voiced Velma Von Tussle rivals her recent Mrs. Wormwood (in 5-Star Theatrical’s Matilda) in hilarious bleach-blonde villainy, and Angela Griswold turns Velma’s equally platinum spawn Amber into a tantrum-throwing delight.

Dominique Kent follows a pair of powerhouse star turns as Dreamgirls’ Effie and The Color Purple’s Sophia with a Motormouth Maybelle so commanding (and thrillingly sung), you’d never guess she’s fresh out of AMDA.

Lacey Beegun’s deliciously dorky Penny Pingleton and Mitchell Johnson’s sizzler of a Seaweed J. Stubbs ignite their own romantic sparks, Jordan Killion’s charismatic Corny Collins gives Dick Clark a run for his American Bandstand money, and Lauren Nelson proves a petite ball of fire as Little Inez.

Adult Authority Figures Lisa Dyson and Daniel Berlin steal scenes right, left, and center in multiple roles each she as Prudy Pingleton, Gym Teacher, Matron, and TV Reporter, and he as Harriman F. Spritzer, Principal, and Mr. Pinky.

Last but not least, Ryan Axberg (IQ), Lucas Blankenhorn (Sketch), Xavier J. Bush (Gilbert), Branden Holzer (Fender), Layli Kayhani (Shelly), Lizzie Porcari (Lou Ann), Carlye Porrazzo (Tammy), Steven Duncan Sass (Brad), Adam Turney (Thad), Rico Velasquez (Duane), Darnell White, Jr. (Stooie), and Racheal Yeomans (Brenda) as well as Dreamgirlicious Dynamites Rayla Garske, Timanii Meeks, and Jenae Thompson get equal opportunities to strut their abundantly multi-talented stuff.

Taylor Stephenson not only provides expert musical direction but conducts Hairspray’s Broadway-caliber orchestra with flair.

Costume designer Bradley Lock delivers one groovy ‘60s look after another including a couple of standout Twiggy-inspired gems topped by Anthony Gagliardi’s titanically teased hair and wigs.

Cole Cuomo and Little Fierce provide plenty of fun ’60s props, Brandon Baruch lights things up with pizzazz, and Brian Hsieh provides a pitch-perfect sound design mix.

Hairspray is produced by Chris Gilbert. Jenny Jacobs is stage manager. Greg Forbess is technical director.

Beginning at the Pantages back in 2004, there’s been no musical I’ve enjoyed (and still enjoy) revisiting more than Hairspray. At seventeen productions and counting, Kari Hayter’s at Palos Verdes Performing Arts is easily the best Hairspray I’ve seen since that very first.

Palos Verdes Performing Arts, Norris Theatre, 27570 Crossfield Drive, Rolling Hills Estates.
www.PalosVerdesPerformingArts.com

–Steven Stanley
April 26, 2019
Photos: Ed Krieger

Tags: Los Angeles Theater Review, Marc Shaiman, Mark O'Donnell, Norris Theatre, Palos Verdes Performing Arts, Scott Wittman, Thomas Meehan