William Ivey Long is a costume design legend. His work here is what we have come to expect from this master. In HAIRSPRAY, Mr. Long's work is often not shown in the most flattering matter. His costumes certainly serve the material perfectly. The top notch, yet somewhat clichéd scenery is designed by David Rockwell. At times I wish his theatrical playground had looked somewhat "richer."
(Ensemble Members)
Jerry Mitchell's choreography is fun, energetic and at times inventive. He has great dancers as his disposal. Aside from the marvelous moments of dance given to Ms. Settle as Tracy, Mr. Mitchell did not break any new ground or particularly surprise us with his work on HAIRSPRAY.
Director Jack O'Brien has delightful confections in his candy box. He wisely concentrates on bringing out the sweetness, this show's most appealing attribute.
It is the score by Marc Shaiman and Scott Wittman that I find most concerning. Was it too rocky for me? Too loud? Was it just me or did some of the songs seem rather similar to each other? The score, again, certainly serving the material, but also not supplying us with any of those moments that we lovers of musical theater dream for. The only truly memorable song moments for me were the cleverly staged opening tune, Good Morning Baltimore, the two solo turns given to Charlotte Crossley as Motormouth and the number that will likely be this show's legacy, Timeless to Me.
Interestingly, though clearly inspired from its 1960s time frame, it is the very show tune songs, not the "rocky" ones that seemed most enjoyed by tonight's audience and also most appreciated by this critic.
HAIRSPRAY's final performance at Miami Beach's Jackie Gleason Theater is February 26. It plays the Kravis Center in Palm Beach March 7-12.
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