Hairspray Live!

By starrymag | December 15, 2016

By: Taylor Gates

 

Hairspray Live! is the story of Tracy Turnblad, a plump teen who dreams of dancing on a popular dance show. Along the way, she learns the harsh reality of racism and discrimination some of her dancing idols face. Eventually, she overcomes naysayers and bullies to achieve her dreams of both winning the Miss Hairspray competition and integrating the Corny Collins Show. Hairspray Live! is the fourth of NBC’s live musicals.

 

The production is off to a fine start with the song “Good Morning Baltimore.” Maddie Baillio’s portrayal of Tracy highlights both the character’s naivety and endearing earnestness. However, there are several distracting sound issues within the first few minutes. The lighting also felt off—its dim and dark quality feels more appropriate for a gritty drama like the series “House of Cards” than the sparkles and rainbow images Hairspray conjures up. I don’t get the spark feeling right off the bat.

 

The energy definitely picks up when we move to the studio and are introduced to most of the ensemble cast during tune “The Nicest Kids in Town.” The choreography is fitting and excellent. Dove Cameron as nasty, overeager Amber steals the show the second she gets on camera.

 

Kristin Chenoweth is unsurprisingly a highlight. Chenoweth’s veteran status is evident, as she effortlessly commands the stage as Velma Von Tussle, Amber’s overbearing mother and a Corny Collins Show producer. Chenoweth’s comedic timing is flawless and she fully commits to her role, having no qualms about frequently being the butt of the joke. Chenoweth nails her performance during “Miss Baltimore Crabs,” especially when she hits those nearly-impossible high notes. Paul Vogt is a perfect choice for the small, but memorable role of show producer, as he always manages to get the laugh.

 

Ariana Grande, who plays Penny, and Baillio have a decent dynamic as the mismatched best friend duo. Grande is almost unrecognizable in her mousy role and it’s pretty amazing to think she can go from a risqué “Side-to-Side” performance to this and be convincing in both. However, though Grande’s voice is impressive, I found her acting to be fairly emotionless. Perhaps it is just her interpretation of the timid role, but I would have liked a bit more oomph from her—it’s clear she’s capable of it.

 

Garrett Clayton as teen heartthrob Link Larkin oozes charm and charisma. I completely buy the fact that the ladies are all over him. “It Takes Two” puts his pipes to the test and proves he’s more than just a pretty face. Derek Hough as Corny Collins is equally slick, walking around with an endless supply of ‘60s swag.

 

Harvey Fierstein steps back into his Broadway role as the insecure but caring, deep-voiced Edna and is pitch-perfect every step of the way. Martin Short as charismatic and sweet Wilbur defines “dad goals” and compliments Fierstein nicely. Although the scene preceding “(You’re) Timeless to Me” runs a smidge long, it exemplifies their odd but loving relationship.

 

“Mama, I’m a Big Girl Now” is unabashed fun and one of my favorite moments of the production. The three girls who star in the number (Baillio, Grande and Cameron) all have an impressive range and the comedy is great with the triple split screen. Once again, Cameron and Chenoweth steal the number and I found myself rooting for the camera to pan back to them when it focuses a different mother/daughter pair to see what antics they were up to. Additionally, the “I Can Hear the Bells” number has a fantasy element and freeze-heavy choreography that works well and the number showcases Baillio’s voice nicely.

 

Rosie O’Donnell is great in her gym teacher role and the whole plot line with the dodgeball scene is a lot of fun. However, the jokes about watching boys shower is tasteless and comes off darker than intended.

 

Ephraim Sykes as Seaweed breathes fresh air into the production. Everything he does is positively electric and his Hamilton background is evident. From his dance moves to the carefree but intelligent way he delivers his lines, it’s impossible not to love him. “Run and Tell That” is everything and cements Sykes’ status as one to watch. For that reason, detention is one of my favorite scenes because of him and it acts as a nice segue and introduction to the more serious issue of racism and segregation, which are a cornerstone of the story.

 

Jennifer Hudson as Motormouth Maybelle is arguably the strongest performer in the bunch. “I Know Where I’ve Been” brings the power and the tears—it’s definitely a water cooler moment and a scene people will be talking about for years to come. Tune “Big, Blonde, and Beautiful” induces goosebumps as well. I want to spend the holidays with Ms. Motormouth Maybelle’s hospitality and sass. The scene where people continuously file in and out of her house is hilarious and it’s clear Hairspray Live! does an excellent job combining comedy and drama.

 

“Ladies’ Choice” and the school dance are a nice character-establishing scene where the audience sees just how blissfully unaware Tracy is of the discrimination her new friends face. Plus, Baillio plays that well. We buy that she’s genuinely ignorant, but wants to do good. It’s also the first number that makes me really want to get up and dance.

 

“Welcome to the ‘60s” a lot of fun as well. Kudos to the costume and props department for the particularly nice ‘60s outfits and scenery. Sean Hayes is charming as Mr. Pinky, the larger than life larger body clothing store owner, and I would have liked for him to have a larger presence.

 

The “Good Morning Baltimore Reprise” is a nice—though not completely believable—reversal of this. Regardless of how much it makes sense, it’s great to see Link change his tune and offer some optimism. “Without Love” also manages to milk some chemistry from Baillio and Clayton and their voices work well together.

 

Andrea Martin as Penny’s mom echoes Chenoweth’s over-the-top personality without coming across as overacting. Her arc is sweet and her acceptance of Seaweed in order to make her daughter happy is heartwarming. Martin is known for her comedic chops so this was a great dramatic turn for her.

 

The classic “Hairspray” number is great, especially with the ridiculous dresses made to look like hairspray cans. When Cameron sings “Cooties” it reminds the world that we have been sleeping on her vocals for far too long!

 

“You Can’t Stop the Beat” is as classic and is executed well. It is a cute finale and wraps things up nicely. Plus, Ariana dancing in those high heel white boots and not breaking both of her ankles is highly commendable.

 

It’s impossible, and a little depressing, to realize just how relevant this musical still is in 2016. Though Cameron and Chenoweth offer laughs for their over-the-top insults and egotism, their racially-charged hatred hits devastating notes. “Are all white people like that?” asks breakout star Shahadi Wright Joseph as the spitfire, talented yet overlooked Little Inez. “No, just most,” Wilbur replies. Sure, it’s a bit on the nose, but it’s not wrong—people can be mean, often times for no better reason that the difference in the color of your skin. Even further than that, Link’s selfishness and indulgence in his white privilege shows the subtler, but arguably even more dangerous, side of racism.

 

As far as the logistics of the production go, there are still some odd elements that plague the network live musical genre as a whole. For example, the random Oreo advertisement wedged into the middle is necessary for sponsoring purposes but odd in terms of viewing. And while as lovable as Darren Criss is, pausing to check in with him or a variety of other reporters at viewing parties in different locations across the United States is distracting.

 

As a whole, Hairspray Live! is a fun, solid production fueled by its spot-on casting but hindered by its technical issues, lack of energy and directional choices. Though it’s not the most memorable two hours, there are a few standout, breathtaking moments with some super singing. Overall, NBC’s venture gets a B rating.