Hairspray
at Seven Hills School
Reviewed on November 22, 2019
Iris LeCates
Walnut Hills High School
Submitted for publication to Newspaper 1
Vivid, shimmering, effervescent— it is easy to think of the 60's as what we've seen on television, merely a collection of shiny dresses and twinkling lights. Beneath that, however, were the rumbling undercurrents of revolution as the Civil Rights Movement took hold of the nation. With all of the dazzling escapism of 60's pop culture and the terrifying realities of centuries-old injustice, Seven Hills School's "Hairspray!" sets out to tackle it all with an unlikely weapon: dance.
The musical "Hairspray!" opened on Broadway in 2002 and is based upon the 1988 movie of the same name. It tells the story of Tracy Turnblad, a curvy high schooler desperate to dance on the Corny Collins Show, an afterschool broadcast of Baltimore's most talented teenagers. When she is sent to detention, she meets Seaweed J. Stubbs and a crew of talented African-American girls. After she lands a role on the Corny Collins Show using their dance moves, she embarks on a journey to integrate the show, overcome stereotypes about plus-sized girls, and win the title of Miss Hairspray.
Hannah Levin was superb as Tracy Turnblad. A triple threat, she was a moving actor, an enthusiastic dancer, and a stunning vocalist. Whether belting "Good Morning Baltimore" or bopping along to "You Can't Stop the Beat ," she was a driving force of the show.
Two other standout performances were those of Rosalind Roland as Seaweed J. Stubbs and Gabrielle Christmon as Motormouth Maybelle. Roland was an excellent dancer and a powerful actress, but her chemistry with Penny Pingleton (Hannah Kelly) was most enticing. Naive and purposefully clumsy, the evolution of their forbidden relationship was charming. Christmon's shining moments often involved her excellent vocals, particularly in the song "I Know Where I've Been ," an iconic 11 o'clock number where she beautifully grounded the production in the terrifying reality of race relations in America.
In a world seemingly full of tumultuous relationships, Edna (Adam Firestein) and Wilbur Turnblad(Stephen Walsh) are exactly the couple to be gracing the stage. In the heartwarming duet "Timeless to Me ," they were both hilarious and endearing. Dancing and twirling across the stage, Edna sang of Wilbur's receding hairline, as Wilbur lamented Edna's inability to stop eating, both agreeing that time only strengthened their love. It was a refreshing take on a couple able to love each other not only ‘in spite of,' but also ‘because.'
The technical elements of the show lifted the production to new heights— and that's not just in reference to the excellent (and period!) hair design. Although follow spots were occasionally messy, the lighting design was eye-catching and colorful. It helped to differentiate the Corny Collins set from reality by dropping the first electric and making fixtures visible to the audience, a creative and effective addition to the design.
The standout technical element wa the projections, designed by Maddy Kennebeck. Although they served many functions, chilling Civil Rights footage shown throughout the production was the most impactful. Amidst the euphoria of curtain call, the lights dimmed, and the voice of Martin Luther King Jr. boomed through the auditorium. Clips of marches from the Civil Rights Movement were projected onto the brick facade of the set, ending the show in a culminating moment both reflective of the progress we've made and as a testament to the work still left to do.
On the surface, "Hairspray" is an upbeat story about teenage hope. However, it is also a reminder that change is affected only by personal sacrifice, hard work, and an overwhelming dedication to justice— themes executed perfectly by the cast and crew of Seven Hills' "Hairspray."
Nadya Ellerhorst
Walnut Hills High School
Submitted for publication to Newspaper 10
In the 1960s, the sticky-sweet mist of hairspray overtook America, allowing for steadfast hair in the some of the most tumultuous times in history. From this fog of 1962, America's favorite ozone-depletant arose, The Seven Hills School's production of "Hairspray!" which held firmer than a beehive do on a windless day.
Adapted from John Waters' cult-classic film of the same moniker, "Hairspray!" mashed potato-ed its way to Broadway in 2002. With stars like Harvey Fierstein at its helm, the show won eight Tonys, including "Best Musical." The musical centers on teen Tracy Turnblad, who, despite her socially-taboo waistline, earns a coveted spot on Baltimore's favorite daytime television dance show. Tracy soon befriends talented peers who are denied a place on the program solely because of their race, and with friends and family by her side, makes her dream of everybody grooving as one a reality.
A lively cast and dedicated crew made for a blast from the past of a show. Lead and ensemble members alike radiated a liveliness more unyielding than the strongest of hairspray, while a realistic set and projections from the era added period authenticity.
As the show's lead, Hannah Levin convincingly embodied Tracy's bubbly disposition. Whether it was dancing dexterously throughout the production's many numbers, belting out unforgettable tunes like "Good Morning Baltimore," or squealing at the very sight of teen heartthrob Link Larkin (Will Kohnen), Levin's Tracy was energetic and lovable. As Penny Pingleton, Tracy's awkward but adorable sidekick, Hannah Kelly gave a delightful portrayal of her character's transition from shy and easily-swayed to self-assured and fearless. Initially, Kelly's Penny timidly wandered in the background of dance numbers and submitted to the edicts of her domineering mother. But by the story's end, she was at the forefront, dancing in sequined liberation with her newfound love, Seaweed J. Stubbs, skillfully performed by Rosalind Roland.
Another standout of the show was plaid-clad Wilbur Turnblad, embodied by Stephen Walsh. Walsh's chemistry with his on-stage family was a perfect blend of touching and hilarious as he offered unwavering support for his daughter Tracy and constantly reminded his self-conscious spouse, Edna (Adam Firestein), of her abundant inner and outer beauty. Additionally, Gabrielle Christmon as Motormouth Maybelle was nothing short of a highlight. Christmon's ethereal vocals in the moving "I Know Where I've Been" were more chill-inducing than a cold Baltimore morning, and her character's supportive nature guided other cast members as they all navigated the rough path to social justice.
Talented cast aside, the production's special effects and set design teams lent much to the show's vintage feel. The set design helped put the "60's" in "Welcome to the 60's," with plain brick buildings representing Baltimore's streets. Although simple, the set cleverly incorporated screens for the 78 projections gathered by the production's special effects team which helped contribute to the varying settings' believability and emphasized characters' emotional states. As Tracy detailed the life she hopes to spend with Link in "I Can Hear the Bells," a sky with fluffy clouds lit up the screens, emphasizing her euphoria. And as cast members marched for equality, powerful segments from the real Civil Rights protests of the 1960's played in the background, conveying the gravity and danger of the situation.
With its songs, dances, and abundant haircare, combined with the impressive efforts of its cast and crew, Seven Hills' rendition of "Hairspray!" served as a powerful reminder that "You Can't Stop the Beat" of the fight for love, justice, and equality.
Grace Erickson
Mariemont High School
Submitted for publication to Newspaper 2
The year was 1962, and conflict was brewing within the streets of Baltimore, Maryland. Racism, bigotry and discrimination were pervasive, and tensions were heightened during this turbulent era. The Civil Rights Movement was nearing its climax, and the nation was on the brink of long- awaited change. The strife and heart-wrenching hardships felt by African-Americans during this time is powerfully portrayed in Seven Hills High School's passionate presentation of the musical, "Hairspray!"
Like most teen girls of Baltimore, Tracy Turnblad dreamed of performing on the Corny Collins Show and being loved by local stud, Link Larkin. On her journey to stardom, Tracy defies societal standards, fights for equality, and is ultimately victorious in challenging the world to let go of the past and move towards a new, integrated era. Welcome to the 60's!
The spirited company of this production performed arduous choreography orchestrated with clear consideration to stylistic elements of the historical period. The cast rose to the challenge of mastering authentic and demanding dance routines to an unstoppable beat. The strong and sonorous vocals of the chorus were particularly impressive. Their colorful voices blended together beautifully and filled the theater to entirety.
In her performance as Tracy Turnblad, Hannah Levin fervently takes to the stage, dancing to the radical rhythm of progress. Her broad and resonant voice was a force to be reckoned with. Adam Firestein enthralled the audience in his beloved performance as Tracy's masculine mother, Edna. Firestein gave an admirable edge to his sincere and delightful role. Firestein laudably embodies his role as a powerful, standout woman. His peformance was an unfeigned delight.
What's the only thing better than Ultra-Clutch Hairspray? Certainly, it's Mark DeBlasio's charming performance as the extravagant Corny Collins. DeBlasio's eccentric stage manner brought captivating energy and life to the production. Peculiar and floppy- haired, Stephen Walsh bumbled about the stage in his comic portrayal of Tracy's offbeat father, Wilbur. Walsh's dry humor and boisterously merry disposition brought light and laughter to the show. More remarkable was the relationship between characters Seaweed(Rosalind Roland) and Penny Pingelton(Hannah Kelly). Both actresses were incredibly talented and delivered ravishing performances. The relationship between these two characters is unique to Seven Hills High School's production, as Seaweed was cast as a female role, meaning their romance was an interracial, homosexual relationship. This progressive element added to the timeless relevance the story continues to possess.
The impressive command of tech elements by the crew was critical to maintaining fluidity throughout the show. Maddy Kennebeck and Freya Li headed special effects/technology which took the form of projections used to rapidly execute dramatic scene changes. This eliminated the need to ever move the set. The projections accurately and effectively situated the story in history. The use of powerful imagery from the Civil Rights Movement and audio recordings from the honorable Dr. Martin Luther King Jr. highlighted the broader seriousness of the musical's subject matter in relation to national events.
In the closing song, "You Can't Stop the Beat," the audience joined the cast by singing and dancing to the familiar tune. This was particularly powerful, as the show teaches that no matter who you are or where you come from, everyone should be able to dance together. In Seven Hills High School's production, no one was an outsider.
Kelly Oberst
Larry A. Ryle High School
Submitted for publication to Newspaper 3
Energetic. Stunning. Powerful. These three words only begin to scratch the surface of the true remarkability of The Seven Hills Upper School's theatre department, Stage SEVEN's, production of "Hairspray!" From several comedically energized moments to the relaying of important messages addressing equality, the cast and crew truly never missed a beat.
A Tony Award-winning musical, "Hairspray!,"
set in 1960's Baltimore, follows the story of the ambitious and confident Tracy Turnblad in her efforts to become a dancer on The Corny Collins Show . After making it onto the show, Tracy soon becomes its star. In exuding messages of body positivity, the show also focuses on the race for racial equality that was taking place in The Civil Rights Movement of the time. After having detention with Seaweed J. Stubbs and other African-American students, Tracy, with the help of these characters and a few others, takes steps to desegregate The Corny Collins Show and make it a place where everyone can dance together, regardless of their outside appearance.
Acting as Tracy Turnblad herself was Hannah Levin who depicted her character's determined and energized nature in an entirely convincing manner. She also had stunning vocals that she was able to control and fluctuate beautifully through the shifting moods of each song. Tracy's mother, Edna, was portrayed by Adam Firestein. Taking on this strong female role, Firestein was effortlessly able to illustrate Edna's transition from a doubtful woman lacking in confidence, to the bold and fearless spirit that she truly embodies.
Other notable performances included that of Will Kohnen who was convincing as the teen heartthrob, Link Larkin. Hannah Kelly was wonderful as the slightly awkward, yet supportive best friend, Penny Pingleton, while Rosalind Roland rocked the stage as the cool, calm, and collected Seaweed J. Stubbs. Together, the two were able to create a striking message about further equality for all. Furthermore, Stephen Walsh's comedic timing as Wilbur Turnblad was impeccable with Firestein and him making an extremely memorable duo. Mark DeBlasio played Corny Collins and mastered the theatrical nature of his character, while Annika Halonen and Allison Huffman were great at playing the mean and wicked in their respective roles as Velma and Amber Von Tussle. Additionally, Gabrielle Christmon was powerful in her role as Motormouth Maybelle with stunning vocals that especially stood out in her mesmerizing rendition of "I Know Where I've Been." The ensemble was also very energized and alert throughout.
Led by stage manager, Elyse Stieby, the crew also did an exceptional job throughout and during the show's process. Lighting designer and light board operator, Madeleine Magruder, took two weeks of preparation to create over 250 light cues that effectively added to the show's different moods. Hannah Kelly, Adam Firestein, and other crew members put much hard work into the designing of T-Shirts, posters, and the theatre program's social media page to promote the show. One of the most striking elements of the production was the use of projections designed by Maddy Kennebeck and operated by Freya Li, which not only helped differentiate between settings, but also depicted many compelling videos from the 1960's Civil Rights Movement. Designed by Taylor Hauter and executed by many crew members, the set was creatively made, while the hair and makeup crew stayed true to period and the show's overall style.
With an ending that illustrated that the fight for equality is never truly done, Stage SEVEN took a remarkably unique spin on the timeless show which effectively sparked a call to action for the validation and acceptance of everyone, no matter what they look like.
Aiden Litmer
Walnut Hills High School
Submitted for publication to Newspaper 4
The decade moved forward, their hair moved upward, and their hips moved side to side as the students of Seven Hills High School took to the stage (and took themselves back to the 60's) to put on an uncontrollably exuberant production of "Hairspray!"
The young and ever-so-lively Tracy Turnblad spends her days singing, dancing, and, most importantly, watching Baltimore's favorite, The Corny Collins show. However, in a world where segregation is in full swing and being plus- sized doesn't lend itself to equitable opportunities, Tracy must navigate the challenges of the future while breaking away from the outdated stereotypes of the past–all while movin' to the beat of a new era.
A show packed to the brim with tense subject matter, vocally demanding musical numbers, and unyielding choreography can knock even the most well-seasoned performers off their feet. However, the students at Seven Hills High School took on the challenge with gusto and unmatched vim. The majority of the actors maintained strong characters on stage, and in the more upbeat scenes, you would be hard-pressed to find anyone without a proud ear-to-ear smile lighting up their faces.
Playing the lead in a musical can often be vocally exhausting, but Hannah Levin, who played Tracy Turnblad, possessed a voice that was unfaltering as she hit almost every note with expertise and staggering enthusiasm, right through the final curtain. Adam Firestien showed a very clear dedication to the difficult to navigate role of Edna as he crafted a sexy, yet comforting parental figure in the most poignant moments. From a dance perspective, the "Detention Kids", with standout performances from Rosalind Roland and Courtney Hammonds, absolutely owned the stage, consistently hitting all their cues with near-perfect execution and overwhelming zest.
The supporting cast of the show also demonstrated a staggering amount of talent. Gabrielle Cristmon, who took on the role of Motormouth Maybelle, had an unbelievably powerful voice that cascaded throughout the theatre, even at times when her mic faltered, pulling at the heartstrings of everyone seated in the crowd. Stephen Walsh also deserves praise for his very loose and groovy interpretation of Wilbur Turnblad. Walsh quickly proved to be the comedic highlight of the production ,and all of his movements seemed purely natural, making his character the most believable of those in the show, despite being extremely odd.
The technical elements of Seven Hills High School's production beautifully captured the restless spirit of America in the 60's. The makeup and hair crew, consisting of students Emma Harrison, Poppi Baylor, Linah Uchiyama, and Caroline Corbett, beautifully incorporated both wigs and natural hair styling into a show where the ‘do' dominates. The lighting design, headed by Madeleine Magruder, was also very integral to the mood. The constantly changing cues enforced the setting, while several bold color choices intensified the representation of the brash spirit of the 60's.
Taking a stand and learning to appreciate others is never an easy task, but the students of Seven Hills High School flawlessly illustrated that, in an unforgiving world, love, acceptance, and maybe a little hairspray can hold us all together.
Reeya Dighe
Walnut Hills High School
Submitted for publication to Newspaper 5
The winner of eight Tony Awards in 2003, the musical "Hairspray!" features an explosion of colorful costumes, energetic dancing, and lively choreography. The tale follows the high schooler Tracy Turnblad , a big girl with big hair and an even bigger heart, as she tries to land a spot on a local television dance program, The Corny Collins Show , featuring teenagers just like Tracy and her best friend Penny Pingleton . After landing herself in detention with the African-American students from her school, Tracy learns some of their dance moves. Her newfound rhythm earns her a spot on the show where she connects with teen heartthrob, Link Larkin . Through her local fame, Tracy advocates for racial integration of the show with the help of Seaweed , Little Inez , and their mother, Motormouth Maybelle , and lands herself in hot water with Velma , the show's producer and her popular, yet vicious teenage daughter, Amber . Tracy conquers the odds and not only integrates the show, but finds love with Link .
The Seven Hills School tackled this demanding piece with unparalleled energy, creativity, and seamless attention to detail. Packed with intense dance numbers and a complex score, "Hairspray!" is no easy task, but the cast and crew beautifully rose to the challenge. Anchored by powerful lead performers, exquisite technical design, and larger-than-life choreography, The Seven Hills School delivered an entertaining, yet moving production.
Hannah Levin , in the epochal role of Tracy Turnblad , dominated the stage with her versatile voice and infectiously optimistic demeanor. In large ensemble numbers such as "Good Morning Baltimore" and "You Can't Stop the Beat ," Levin brought the stage to life with her impeccable dancing and bubbly stage presence. Opposite her, Hannah Kelly , in the role of Penny Pingleton , seamlessly embodied the role of the spastic best friend while still fully developing her relationship with Seaweed . Kelly effectively embraced her character arc through her moving performance in "Without Love."
The supporting cast exquisitely added dimension, humor, and animation to this high-energy piece. Gabrielle Christmon as Motormouth Maybelle filled the space with her powerful and resonant voice, delivering a heart-touching and moving performance of "I Know Where I've Been." Adam Firestein and Stephen Walsh , in the roles of Edna and Wilbur Turnblad respectively, perfectly handled the nuanced comedic timing. Walsh commanded the space with his farcical humor and spastic motions.
The lighting crew, consisting of Madeliene Magruder , Elena Wilson , and Anand Patil utilized complex color storying and dramatic washes to artfully convey different settings within the story. From romantic pink washes in "I Can Hear the Bells" to dramatic designs in "The Big Dollhouse", the lighting design added a flavor of professional quality to the production.
Through powerful vocals, intricate technical elements, and immense enthusiasm, The Seven Hills School tastefully delivered a creative take on an energetic and colorful classic.
Sophia Rooksberry
Walnut Hills High School
Submitted for publication to Newspaper 6
Ladies and gentlemen, welcome to the 60's. Hair is getting bigger, music is getting louder, and the debate over the topic of integration is getting progressively more heated. It was in this setting that Seven Hills High School performed "Hairspray!" the story of Tracy Turnblad, a young girl whose only dream is to dance on The Corny Collins Show, an after-school dance program. Despite Tracy's talent, the show's producer immediately dismisses her due to her weight and her support of integration. Against all odds, Tracy is determined to prove her talent to the world and enact change in national television. With the help of her friends, Tracy goes on an epic journey of relationships, jailbreaks, stardom, protests, and naturally, lots of dancing.
The Seven Hills production of "Hairspray!" enraptured the audience from the beginning with their energetic dance numbers, lively performers, and stunning atmosphere. While some technical mishaps did occur, the essence of the show remained entirely intact, and the actors never faltered.
Performing some of history's most iconic musical numbers such as "Good Morning Baltimore" and "You Can't Stop the Beat" as a high school student comes with an enormous amount of pressure. However, the indomitable energy of Hannah Levin as Tracy Turnblad gave her the courage to not only fulfill the task, but to thrive in its achievement. Approaching the character with a bold sound and a tenacious stage presence, Levin did the iconic character nothing but justice. Standing by her side throughout her entire character arc was Tracy's mother, played by Adam Firestein. In the role of Edna Turnblad, Firestein provided a fresh take on the character with the fearless belting of a tenor and brilliant chemistry in every relationship forged on stage. Together, Levin and Firestein beautifully crafted a symbiotic mother-daughter relationship.
By far, the standout of the production was the performance by Gabrielle Christmon in the role of Motorhead Maybelle. Christmon blew the audience away with her sparkling soul voice, particularly with the ever-inspiring number "I Know Where I've Been." Acting both as the driving force in Tracy's activism and the nurturer of the romance between Seaweed J. Stubbs, played by Rosalind Roland, and Penny Pingleton, played by Hannah Kelly, Christmon could not have handled the role more elegantly.
One of the most challenging aspects of designing a show that was originally made for the screen is adapting the set for the stage. With the brilliance and dedication of the set and lighting designers at Seven Hills High School, the world of Baltimore was cohesively divided into several separate locations, all in the same space. From the harsh lights of the WYZT station, to the soft glow of the record store, the energy of the city was beautifully maintained. On top of the multifaceted set and intricate lighting, the hair and makeup crew gave their element of the show the flair it deserved while still preserving historical accuracy in a wonderful feat of artistry.
With the powerful words of Dr. Martin Luther King Jr. resonating in the ears of the audience as they filed out of the theater, the only emotion that could have been construed by the array of gaping mouths and starstruck eyes was pure enchantment.
Juli Russ
Highlands High School
Submitted for publication to Newspaper 7
Grab your hairspray, radio, and get ready to go! Boisterous and spirited, yet utterly moving, Seven Hills School struck the perfect balance between television's fantastic facade and discrimination's somber reality in their endlessly energetic production of "Hairspray!"
Set in 1960's Baltimore, the award-winning adaptation of John Waters's 1988 film follows the story of Tracy Turnblad, a teenage underdog with an unquenchable thirst for the spotlight and hair higher than her boundless ambitions. As she "Madisons" her way into unlikely stardom on the popular Corny Collins Show, she also sparks an unlikely friendship with a group of African-American students at her school. Demonstrating passion, maturity, and spunk, the students quickly introduce Tracy to the unfamiliar world of downtown rhythm and blues, along with the horrific reality of segregation in America.
Seven Hills School's performance was nothing less than a dynamic masterpiece. Despite the theatre program's recent transition into a brand-new auditorium and the challenging adjustment period that followed, the cast and crew illustrated that their talents and creative vision were universally adaptive in every aspect.
You can't stop an avalanche as it races down the hill, and no better turn of phrase could be used to describe the vivacious, inescapable onstage presence of Hannah Levin as Tracy Turnblad herself. She stuck steadfastly to the essence of her character with every nuanced burst of personality anchoring her to the moment. After starting strong in her opening number, "Good Morning Baltimore," Levin's vocal prowess only continued to impress. Annika Halonen, in her role as Velma, and Hannah Kelly, portraying Penny Pingleton, harmonized beautifully with Levin and other cast members in their flawless rendition of "Mama, I'm a Big Girl Now." In addition, Rosalind Roland personified the confidence, grace, and dexterity of the legendary Seaweed J. Stubbs, specifically in the realm of dance.
Supplementing the talent of the leads was the ensemble's magnetic energy which carried slower scenes and encouraged the rest of the cast to remain dynamic throughout the physically draining performance. Stephen Walsh, playing Wilbur Turnblad, provided comic relief, but also shared an unbelievable onstage chemistry with Adam Firestein in his role as Edna during their heartwarming duet, "Timeless to Me."
Seven Hills' production was profoundly enhanced by its highly-advanced technical elements. Projections, designed by Maddy Kennebeck and executed by Freya Li, transformed the stationary set and allowed for seamless scene changes, expertly facilitated by stage manager Elyse Stieby. In addition, these projections allowed for poignant moments to shine, highlighting footage of Civil Rights protests and ending the performance with a powerful excerpt from Dr. Martin Luther King Jr.'s speech, "I've Been to the Mountaintop."
The simultaneous waves of traditionalism and social upheaval that characterized the American sixties were thoughtfully entwined by Seven Hills' ambitious rendition of the classic Broadway musical. Difficult themes such as segregation, racism, and the fight for integration, were told through a universal passion for dance, culminating in more than simply a spritz of success for the cast and crew of "Hairspray."
Matthew Eggers
Walnut Hills High School
Submitted for publication to Newspaper 8
The sound of Ella Fitzgerald and Martin Luther King Jr. filled the newly-opened Morse & Betty Johnson Theater with somber exhilaration. As the sounds of jazz fades, the Seven Hills Upper School's production of "Hairspray!" dared to show the best and worst of the 60's.
With lyrics by Marc Shaiman and book by Thomas Meehan, "Hairspray!" is based of the John Waters cult classic of the same name. Premiering in 2003, "Hairspray!" follows Tracy Turnblad's journey of becoming a dancer on a local television show. On the way, Tracy encounters both the crude practices of segregation and the no-bared resilience of The Civil Rights Movement. Although the plot seems full of bite, the show uses satire in the form of divine singing, dancing, and drag to break the ice on the tense subject of race in America.
Hanna Levin, in her role as Tracy Turnblad, gave an incredibly grounded performance while still embodying the bright and bubbly persona of Tracy. Even as other actors were taxed by the difficult demands of the show, Levin drove through as a professional, keeping all parts of her character in sync from "Good Morning Baltimore" all the way to "You Can't Stop the Beat." Talent does not fall to far from the Turnblad tree with Adam Firestein's performance as Tracy's mother, Edna. Edna is one of the most iconic drag characters in musical theatre, and Adam Firestein brought a performance that was two parts Divine and one part John Travolta. Although drag is often used for cheap laughs, Firestein brought a sincerity to the role that harkened back to Waters pushing boundaries for queer representation.
On the note of queer representation, the distinct choice of gender bending one of the show's male leads, Seaweed J. Stubbs, as a female proved to elevate the message of acceptance tenfold. Without missing a beat, Rosalind Roland played Seaweed with swagger, sweetness, and sensational charm, jiving and vibing for the audience to fawn over. Alongside Roland was Hannah Kelly as Penny Pingleton. Kelly and Roland's chemistry was absolutely jaw-dropping, as with only a few lines the crowd found a new couple to cheer for throughout the show. By not shying away from this lesbian portrayal, the cast once again embraced Waters' queer intentions in the original piece, showing nuanced understanding in the story's history.
One of the most stunning technical elements of the show was the projections. Designed and executed by Maddy Kennebeck and Freya Li, the projections covering the set walls on stage left and right elevated the show's message with the use of visual media documenting the 60's. By utilizing the decade's well-preserved history of Civil Rights activism, Kennebeck enhanced the show's already somber undertones to create a truly moving piece of art.
With a standing ovation at the end of the show, the cast and crew stepped to the side, steering the audience to watch MLK's "I Have Been to the Mountaintop" speech. Not every production chooses to step away from the satire and coldly expose reality, but Seven Hills Upper School's decision on this production of "Hairspray" was the bow on an already fabulous show.
Annie Farkas
Ursuline Academy
Submitted for publication to Newspaper 9
It's never a dull moment in 1962 in Baltimore, Maryland, where there's singing, dancing, and romance. The Seven Hills School's production of "Hairspray!" beautifully encapsulated the heart of the early 60's and was infused with bubbly energy, a variety of dancing styles, and stunning vocals.
"Hairspray!" tells the story of Tracy Turnblad, an optimistic teen who struggles to fit in as a result of her weight. She dreams of appearing on The Corny Collins TV dance show; her dream comes true when she gets recruited onto the show and becomes instantly famous. As a result of her spunk and determined nature, she brings change to the show by campaigning for racial integration. By the end, The Corny Collins Show is a delightful mixture of all kinds of people, highlighting the theme that there's beauty in differences!
Seven Hills' production was anchored by an energetic ensemble who had bright and strong vocals. "Hairspray!" is a dance-heavy show which may prove too big a challenge for some, but was not for this talented cast! They cleanly executed the choreography and consistently kept the audience captivated.
Tracy Turnblad, played by Hannah Levin, had a strong, rich voice. Levin's dedication to her character and the show was obvious in her performance. Wilbur Turnblad, portrayed by the talented Stephen Walsh, was extremely comical and a joy to watch perform. Walsh's interactions with Adam Firestein, who played the lovable role of Edna Turnblad, were delightfully funny, especially in "Timeless to Me."
When Motormouth Maybelle, portrayed by Gabrielle Christmon, sang for the first time, it was purely breathtaking. Her strong, jazzy, and luscious voice in "I Know Where I've Been," paired with the song's inspirational message, was a show stopper. Corny Collins, played by Mark DeBlasio, had engaging and animated facial expressions. Dancing was an integral part of the show, and Seaweed, played by Rosalind Roland, and Little Inez, played by Courtney Hammonds, stood out as outstanding dancers who captivated the audience.
The costumes in the show looked as if they were plucked right out of the 60's. Additionally, a unique aspect of the show was that projections were used throughout. Maddy Kennebeck designed these historically accurate projections, and Freya Li executed the changing of projections for each scene. These projections enhanced scenes by adding images and video clips from the 1960's to better portray different settings. Despite having a stationary set, many different scenes were successfully portrayed throughout the show.
"Hairspray!" was full of tall hair, lots of hairspray, and a cast bursting with energy. Both cast and crew exceeded expectations and produced a breathtaking show that left the audience feeling both satisfied and inspired.