Here’s a twist: twov Buffalo Theatre Guide reviewers saw the MusicalFare’s opening night of Hairspray at Shea’s 710. Admittedly, we loved this idea of squaring off with our opinions…and maybe next time, we can be more provocative if our thoughts are more divergent!

That’s What He Said –

By Stephen Dubois

Of all the often irreverent and controversial films of the John Waters collective, Hairspray was always the tamest and seems naturally suited for the jump from screen to stage musical.  It represents a very real struggle of race, inclusion, belonging and overcoming oppression.  And it’s just as vital today as it was to the 1962 period of the story.  Yet the show also has a massive heart, hysterically comedic moments and a retro 1960s score that is just irresistibly fun.  It’s a tough show to mount, though.  Lots of scene changes and demands that really test the meddle of a stage like Shea’s 710 where the mechanics of the theater are more limited.  But they absolutely made it work thanks to clever staging by Chris Cavanaugh and direction by Eric Deeb Weaver.  It had the look and feel of the gaudy and colorful 1960s complete with some mid-century modern accents.  Scene changes were smooth and effective and the lighting brought out the elements marvelously.

The cast was overall very strong with some real standouts.  Bobby Cooke as the lovable Wilbur and Louis Colaiacovo as Edna knocked it out of the park.  Their chemistry was so genuinely loving especially in “Timeless to Me” which was absolutely one the best moments in the performance.  Edna, who, since Divine created her character in the original movie, has consistently been played by a male and MusicalFare continued this tradition as well.  And, honestly, I’ve never liked anyone who has played her until tonight.  Harvey Fierstein on Broadway was an utter trainwreck and John Travolta was equally troubling for my ears.  But Colaiacovo was perfectly cast and brilliantly executed this gender-bending role. Jenn Stafford was convincingly cold and calculating as any stage mom as Velma.  Austin Marshall as Seaweed Stubbs was a revelation.  Every moment he was on stage he owned it with a voice that soared.  Dasia Cervi as Motormouth Maybelle was note-for-note his equal and brought the house down.  Glen Chitty as Link Larkin sang earnestly and his character’s transformation was authentic.  The always entertaining Marc Sacco, as Corny Collins, fit the part ideally.  The ensemble shined throughout with tight choreography and passion.  However, there were some rough parts and it was unfortunately due to the leading High School girls. Stevie Lou Kemp as THE lead, Tracy Turnblad, was shrill and abrasive.  Brash to the point where my whole body winced.  Same with Audree Woods as Amber and Penelope Sergi as Penny.  Squeaky, annoyingly high-pitched and grating.  The aural equivalent of eating too much wasabi on a bite of sushi.  And I hate to be so harsh but I also don’t fault them.  I feel like they were directed to sound like that and then the sound system took it to a level that induced pain.  Because all three of them were outstanding singers, maintained pitch throughout and acted effectively.  This being opening night also allows for some sound adjustments to help fix this.  It was much too much in that piercing register and we just cannot have that because we are supposed to rally around Tracy.  We must or the whole show can’t come together.  Thankfully the final song did just that. “You Can’t Stop the Beat” is the kind of powerhouse where the whole cast can become one and elevate the mood from triumphant to exuberant.  Only a handful of musicals end as joyously as this.

It’s a very rewarding show where the good far outweighs the trouble areas and another successful production for MusicalFare.  I only hope that steps to make those critical roles easier on the ears can be taken.

That’s What She Said –

By Cherie Messore

I agree with my Theatre Companion about why Hairspray went from cult classic film to an entertaining-with-a-message stage show, and  – as previously written – I’m not a fan of film-to-stage derivations. The very hummable Marc Shaiman tunes and the uplifting messages about race relations and inclusion and body positivity (spoiler alert – the chubby girl gets the guy times two) will always have value and impact.

The ‘60s vibe was established right off by the site of Chris Cavanagh’s set, with ‘60s shapes accent with bright pops of color against some pastels which still managed to be tonally rich. The pre-show ‘60s soundtrack dropped you into the scene before Tracy Turnblad opens her eyes. Again I agree with my TC: I’ve enjoyed Stevie Kemp’s performances several times and never heard her voice pitched this way. And yes, I know she was character singing, but she along with the other high school girls were over-directed to the point of sounding like an over-exaggerated ‘60s caricature.

The sister Drozd nailed the attire and styles of the day, yet Tracy’s short and fitted outfits felt out of place against the others that were more traditional early ‘60s fitted bodice and below-the-knee bouffant skirts.

There were several stand-out moments for me. Arin Lee Dandes as Penny’s mom and then as a cop, the gym teacher, the prison matron, and – my favorite – a nun, added something special to each scene she was in. It was great to see Talia Rose Mobley in the ensemble after killing it last season in AnsariSaxon’s production of Dreamgirls. Aaliyah Ryan’s MusicalFare debut as Little Inez was a scene-stealer: so good to see fresh talent emerging in almost every MusicalFare production. This speaks volumes about the company’s commitment to WNY theatre and its future. Ditto Audree Woods as the easy-to-hate mean girl Amber Von Tussle, another debut and hopefully in her next role, she’ll be the character we want to live. Jenn Stafford was glorious as slutty stage mama Velma. Dasia Cervi, also new to this stage, as Motormouth Maybelle made you feel “Big Blonde and Beautiful” and “I Know Where I’ve Been.” Two completely different songs with powerful messages about inclusion and belonging and self and her interpretations are passionate and lingered in your ear.

I want Bobby Cooke to call me on the regular and sing “You’re Timeless to Me” just because. It’s a great song about what true and enduring love really is and it’s just so darn fun, too. The sparkle in his eye as he sang it to his wife, otherwise known as Louis Colaiacovo shone all the way to the back of the house.

All told, Hairspray is great fun on stage because of the story, the music, and the people who brought it all together. Don’t leave your seat when you think it’s over because, yes, you can do a little aisle dancin, and there’s an important message shared from the stage. This time of year is Buffalo’s answer to Broadway Cares, when the theatre community helps raise funds for a health/human service organization. MusicalFare audiences have raised more the $109,000 over the past few years and the cause is always important. Make sure to drop some dollars in the buckets offered by cast members as you depart. Moments like these are unifying and heartfelt.

Hairspray runs a little over two hours with a 15-minute intermission. Find tickets and details at https://www.musicalfare.com.