Jennifer Massey as Tracy Turnblin and company in Slow Burn Theatre's production of "Hairspray" playing at the Broward Center for Performing Arts through Sunday, April 26. (Photo by Larry Marano)
The infectious score and spirit, combined with the heartfelt messages about being yourself, body positivity and equality in Slow Burn Theatre Company’s production of “Hairspray,” make for an irresistible production that remains as vibrant and relevant as ever.
Tracy Turnblad (Jennifer Massey) is a bubbly teenager living in 1960s Baltimore whose biggest dream is to dance on The Corny Collins Show, a popular but segregated TV program for teens. When she gets the opportunity to audition, Tracy’s journey quickly becomes about more than just dancing, as she begins to challenge the show’s outdated norms. Along the way, she encounters resistance from producer Velma Von Tussle (Gail Bennett) and her ambitious daughter, Amber (Maryann Traxler), as tensions rise.
Under the direction of Music Director Paul Tine, the live orchestra skillfully supports the performers, enhancing each number without overpowering the vocals.
“Nicest Kids in Town” brims with a youthful vibe, while “I Can Hear the Bells” is a dreamy number that temporarily locks Tracy in fantasy mode. As Tracy, Massey nails the character’s bubbliness with her high-wattage smile and infectiously enthusiastic voice while also lending her an inspiring, fervent determination. In lesser hands,Tracy can come across as merely bubbly, but here the performer endows her with depth. Tracy’s perseverance to dance on the Corny Collins Show and integrate it reminds us that each of us can do our part to enact change, however small it may seem. The cast brings a dynamic energy and emotional sincerity to the production, grounding its style in performances that feels engaging.
One of the production’s most touching moments comes when Edna and Wilbur Turnblad slow dance and touch each other affectionately as Wilbur convinces Edna that she is“Timeless.” The actors, Matthew W. Korinko as a tender and funny Wilbur and Eric Swanson as a sympathetic Edna, create a believable portrait of a devoted couple in the tender song, “Timeless to Me.”
Swanson convinces as a spirited Edna who lacks self-esteem and feels she’s stuck in life doing laundry. But Swanson’s Edna is also a woman with an indomitable spirit and a kind-hearted person who endears herself to us. Often, productions cast a man in therole, as Slow Burn does here, which enhances the humor.
Toddra Brunson deftly blends warmth with conviction in her powerhouse portrayal of Motormouth Maybelle. She is commanding in the role but always easy to pull for,particularly in her sincere and emotionally grounded rendition of “I Know Where I’ve Been,” a dark yet hopeful number.
Black and white characters stand tall, hold hands and raise their arms in a heartening display of solidarity at the end of the song. Logan Green’s vivacious and wide-eyed Seaweed J. Stubbs, Jessica Balton’s nerdy, intense, and likable Penny Pingleton, and Chris Stevens’ charismatic Corny Collins are also production highlights.
This cast imbues one of the musical’s showstoppers, the electric “You Can’t Stop the Beat,” with a dynamism that underscores the show’s message of unstoppable progress and joy. At one point, Edna bursts from an oversized hairspray can, resplendent in red and newly empowered with an undeniable verve that is contagious. Confetti falls, andwe want to join her and the others onstage in celebration.
From the outset, the staging signals a heightened, stylized theatricality that embracesthe musical’s pop-art energy while also making room for its more serious themes. Under Slow Burn Artistic Director Patrick Fitzwater’s sensitive direction, the pacing is brisk,movement consistently seems natural and purposeful, while the production feels cohesive.
The production’s cartoon-colored set by designer Nikolas Serrano, more representational than realistic, remains onstage throughout, framed by a proscenium designed like a retro television set, complete with an antenna and vivid pink, yellow, and blue hues. The lively colors reinforce the show’s sunniness. Lighting designer Eric Norbury’s vibrant hues and costume coordinator Rick Pena’s colorful period outfits also place us in the show’s world.
Despite its age, this production remains forever young with an energetic and engaging spectacle (even the lighting equipment moves) that looks bright and cheery on the outside while lending equal weight to the show’s heaviness. We leave the theater invigorated and ready to follow Tracy Turnblad’s lead in doing our part to bring about change.
This production honors both the material’s brightness and thematic depth, giving us a thoroughly satisfying show that entertains and empowers. Running for approximately two hours and 20 minutes, including an intermission, the production continues through Sunday, April 26 at the Broward Center for the Performing Arts in Fort Lauderdale.
Tracy Turnblad (Jennifer Massey) is a bubbly teenager living in 1960s Baltimore whose biggest dream is to dance on The Corny Collins Show, a popular but segregated TV program for teens. When she gets the opportunity to audition, Tracy’s journey quickly becomes about more than just dancing, as she begins to challenge the show’s outdated norms. Along the way, she encounters resistance from producer Velma Von Tussle (Gail Bennett) and her ambitious daughter, Amber (Maryann Traxler), as tensions rise.
Under the direction of Music Director Paul Tine, the live orchestra skillfully supports the performers, enhancing each number without overpowering the vocals.
“Nicest Kids in Town” brims with a youthful vibe, while “I Can Hear the Bells” is a dreamy number that temporarily locks Tracy in fantasy mode. As Tracy, Massey nails the character’s bubbliness with her high-wattage smile and infectiously enthusiastic voice while also lending her an inspiring, fervent determination. In lesser hands,Tracy can come across as merely bubbly, but here the performer endows her with depth. Tracy’s perseverance to dance on the Corny Collins Show and integrate it reminds us that each of us can do our part to enact change, however small it may seem. The cast brings a dynamic energy and emotional sincerity to the production, grounding its style in performances that feels engaging.
Scott Silage as Link Larkin, and Company in Slow Burn Theatre's production of "Hairspray" playing at the Broward Center for Performing Arts. (Photo by Larry Marano)
Gail Bennett’s arrogant Velma believably condescends, but her unsteadiness toward the end- her mouth open and hand at her stomach- suggests she is nearly undone after Tracy succeeds in integrating the Corny Collins Show.
Early in the show, as Link Larkin, Scott Silagy convincingly conveys an Elvis-likecoolness that literally makes a girl watching him on TV faint. By the end, however,Silagy’s Larkin feels more sensitive and likable.
One of the production’s most touching moments comes when Edna and Wilbur Turnblad slow dance and touch each other affectionately as Wilbur convinces Edna that she is“Timeless.” The actors, Matthew W. Korinko as a tender and funny Wilbur and Eric Swanson as a sympathetic Edna, create a believable portrait of a devoted couple in the tender song, “Timeless to Me.”
Swanson convinces as a spirited Edna who lacks self-esteem and feels she’s stuck in life doing laundry. But Swanson’s Edna is also a woman with an indomitable spirit and a kind-hearted person who endears herself to us. Often, productions cast a man in therole, as Slow Burn does here, which enhances the humor.
Toddra Brunson deftly blends warmth with conviction in her powerhouse portrayal of Motormouth Maybelle. She is commanding in the role but always easy to pull for,particularly in her sincere and emotionally grounded rendition of “I Know Where I’ve Been,” a dark yet hopeful number.
Black and white characters stand tall, hold hands and raise their arms in a heartening display of solidarity at the end of the song. Logan Green’s vivacious and wide-eyed Seaweed J. Stubbs, Jessica Balton’s nerdy, intense, and likable Penny Pingleton, and Chris Stevens’ charismatic Corny Collins are also production highlights.
Nayomi Braaf, Lillie Eliza Thomas, and Mikayla Queeley, in Slow Burn Theatre's production of "Hairspray" playing at the Broward Center for Performing Arts
This cast imbues one of the musical’s showstoppers, the electric “You Can’t Stop the Beat,” with a dynamism that underscores the show’s message of unstoppable progress and joy. At one point, Edna bursts from an oversized hairspray can, resplendent in red and newly empowered with an undeniable verve that is contagious. Confetti falls, andwe want to join her and the others onstage in celebration.
From the outset, the staging signals a heightened, stylized theatricality that embracesthe musical’s pop-art energy while also making room for its more serious themes. Under Slow Burn Artistic Director Patrick Fitzwater’s sensitive direction, the pacing is brisk,movement consistently seems natural and purposeful, while the production feels cohesive.
The production’s cartoon-colored set by designer Nikolas Serrano, more representational than realistic, remains onstage throughout, framed by a proscenium designed like a retro television set, complete with an antenna and vivid pink, yellow, and blue hues. The lively colors reinforce the show’s sunniness. Lighting designer Eric Norbury’s vibrant hues and costume coordinator Rick Pena’s colorful period outfits also place us in the show’s world.
Despite its age, this production remains forever young with an energetic and engaging spectacle (even the lighting equipment moves) that looks bright and cheery on the outside while lending equal weight to the show’s heaviness. We leave the theater invigorated and ready to follow Tracy Turnblad’s lead in doing our part to bring about change.
IF YOU GO
WHAT: Slow Burn Theatre Company’s professional production of “Hairspray.”
WHEN: 7:30 p.m., Tuesday, April 21, Wednesday, April 22 and Thursday, April 23; 7:30, Friday, April 17 and April 24; 1 p.m. and 7 p.m., Saturday April 18, and April 25; 2 p.m., Sunday April 19 and April 26
WHERE: Broward Center for the Performing Arts’ Amaturo Theater, 201 S.W. Fifth Ave. in Ft. Lauderdale.
