Hairspray (2002 Original Broadway Cast) ( Visit this link)
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Hairspray (2002 Original Broadway Cast)
Baltimore, Maryland is the setting for this charming musical that comically reviews America’s basic stereotypes including race, weight, and teenage growing pains. Though I haven’t had the pleasure of seeing the show as of yet, the amusing music of the show draws the listener in for a relaxing fun-filled session of fabulous satire. Anything that the music lacks in power, it makes up in sheer likeability. The themes are not complex or moving, but if you listen closely you will be happily rewarded by the humor woven into each song that constantly comments on several aspects of life in the American sixties.
The plot is a basic one: teenage girl finds popularity and her love. Marissa Jaret Winokur (Tracey) makes for a pretty basic heroin, except for her larger than average size. She, nonetheless, confronts the world optimistically head-on with her opening number “Good Morning Baltimore”. That dreamy optimism is what gives such appeal to the music that Tracey sings. Her vocal style breaks the classic musical theatre voice just as her physique breaks the expected heroin norms. There is innocence in her voice that is intoxicating and her playful tone makes the listener root for her each step of the way.
Another character whose voice must be pointed out is Harvey Fierstein, in the role of Edna Turnblad (Tracey’s mom). Fierstein’s hilarious interpretation of this character elicits laughs even after having heard the tracks numerous times. The raspy quality of his voice plays off perfectly in the role and gives flavor to a story that is a one-dimensional. Fierstein is a stark contrast to Matthew Morrison (Link) and Corey Reynolds (Seaweed) who have the quality voices you would expect in any Broadway production. Their songs are clean and strong. All in all, with the cast as is, there is a dynamic diversity in vocals that allows for the music to stay fresh through-out the entire album.
The best part about Hairspray has to be its social satire. There is no question that each song was pored over to make sure that not a moment was wasted in ridiculing outdated views. Anyone who is in the least bit familiar with American lifestyles in the sixties can appreciate the constant spoofs. It is like seeing a celebrity roast for the decades of the sixties. Songs like “Run And Tell”, “It’s Hairspray”, and “Welcome to the Sixties” are obvious examples, but it doesn’t take much to find the humor layered into all of the lyrics.
Some of the other fun things to listen for on this album are the use of clichés in new and entertaining ways (particularly in “I Can Hear the Bells” but hidden in other places as well), the female group harmonics that directly allude to early sixties pop groups, the word “french-kissing” in the lyrics (I really think this is the first time a musical has ever used that word in song. I challenge anyone to prove me wrong!), and of course the bonus tag at the end of the CD which brings an appallingly wonderful conclusion to the show.
What it all comes down to is that the album is lively and inviting – a perfect example of a pick-me-up show that has a fanciful addictive ambiance which consistently brings audiences back to theatres. Has it helped advance musical theatre as an art? Probably not, but no one is complaining when they are humming the songs to themselves after having heard them only once.
Reviewed By : T. Burnett
Submitted by: admin
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Added: Tue Apr 05 2005