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If every Broadway musical were like "Hairspray," now playing at Luxor Las Vegas, you'd see me at a lot more Broadway musicals. And you'd probably see a lot more of them being successful there, because "Hairspray" is a perfect evening at the theater and without a doubt one of the best shows in Las Vegas, a rip-roaring laugh-fest with heart, soul and big hair.
Based on the John Waters film of the same name, the play tells the story of Tracy Turnblad, a zaftig Baltimore teenager in 1962 who dreams of being a dancer on an American Bandstand-style show. Despite her size, she manages to make it on TV, wins the hand of the heartthrob star of the show and even strikes a blow for race relations at the same time. Sorry, I guess I should've warned about spoilers but it's a musical comedy -- did you really think it wouldn't have a happy ending?
Tracy is aided and abetted by her scatter-brained best friend, Penny, who starts a "shocking" affair with a black boy named Seaweed; encouraged by her self-confidence-deficient mother, Edna, and happy-go-lucky father, Wilbur; foiled by the evil Amber Von Tussle and her mother, Velma; enamored of the perfect boy, Link; and shown the light by a big-hearted black disc jockey named Motormouth Maybelle.
That's the basic plot, but the show is really about acceptance. Not to put too much of a sociological spin on what is really just a fizzy musical, but issues of body image, self-confidence, bigotry, prejudice and more are all touched on. Whether you choose to look for deeper contexts or just laugh and tap your toes is totally up to you.
The book (by Mark O'Donnell and Thomas Meehan) and music (by Marc Shaiman and Scott Wittman) are pitch-perfect representations of both the era and the genre itself, with a Busby Berkeley "We can do it, kids -- we can put on a show!" type bounciness and Motown flavored music adding a fresh but familiar spin. Songs such as "I Can Hear the Bells," heard when Tracy first meets the handsome object of her affection, and "Timeless to Me," a lovely duet between Tracy's parents, are award-worthy all on their own.
The show has been shrunk from its Broadway run to a sleek 90 minutes or so, with a couple of songs, some dialogue and the intermission all jettisoned. Most people who have seen both the original and this one seem to feel that nothing gets lost in the translation. For those of us who have never seen the full version, nothing feels missing.
The performers will change as the show runs, so do yourself a favor and get there soon. While the replacements will undoubtedly be talented, it's hard to picture them being as gloriously divine (no pun intended, for fans of the movie) as these folks are.
Katrina Rose Dideriksen is a delight as the wide-eyed Tracy (originally played by Ricki Lake in the film), full of spunk and determination with a voice that is sweetly powerful and a smile that could save some money on electric bills. Susan Anton, as the wicked Velma Von Tussle, is only disappointing in the fact that we can't see more of her scenery chewing evil doings. Austin Miller plays the teen idol-worthy Link with gee-whiz gusto and a pelvis swivel that would make Elvis jealous. And Fran Jaye as Motormouth Maybelle has a presence and a voice that could blow out the back wall of the theater.
But here, as on Broadway, the show belongs to Edna and Wilbur Turnblad, as played by Harvey Fierstein and Dick LaTessa, both of whom won Tony awards for their portrayals. LaTessa is a musical-theater vet, and he plays the ever-cheerful Wilbur with a glee and a spring in his step that puts most 25-year-olds to shame.
And then there's Fierstein. The term "gravel voiced" was invented for him, and he doesn't so much sing as he does rattle the rafters, but no matter. His cross-dressing turn as Edna is revelatory, taking the character from shy, insecure, overweight hausfrau to fat and fabulous through more than just great dresses and big hair. Pay attention to the way Edna moves at the beginning, a flat-footed gait brought on by too many years of lugging laundry baskets and contrast that with the light-footed breeziness by the end of the show. Fierstein changes everything as Edna comes out of her shell and realizes how much the people around her love her. There's a reason why he won a Tony for this performance.
Fierstein and LaTessa are in the roles for at least the first three months. If you get a chance to go see the show while they are still in it, you owe it to yourself to do so. But even if you get there after they are gone, "Hairspray" is such a delightful, effervescent good time that it will stand all on its own.
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