Delivering a message of joy, perseverance, and hope, Prince William Little Theatre closed its production of Hairspray on July 20 to a completely sold-out house. It is never too late to applaud a job well done or sing the praises of an inspiring piece of theater, crafted with great care, love, and tremendous talent. So here I go.
Hairspray is an American musical based on a 1988 movie of the same name by John Waters, with music by Marc Shaiman, lyrics by Marc Shaiman and Scott Wittman, and a book by Mark O’Donnell and Thomas Meehan. The work is well-known for taking bigotry and the entitlement of corporate America to task by blasting the hypocrisy, insincerity, and flat-out nonsensical bullshit logic that feeds into the narrative. However, it presents the message in a palatable package of comedic and relatable characters, who mock the establishment and demonstrate justice and human decency through hilarious scenarios and a rocking score.
Through the guidance of Musical Director Nancy Huddleston and the accompaniment of a kick-ass live orchestra, conducted by Matthew Scarborough, the songs drive the fast pace of the show, making the entire experience an exciting, high-energy ride, accentuated with a wide array of dance styles from the era, like the mainstream Madison and the Twist, to rhythm and blues, Motown, and even tap, all choreographed by Philip Smith-Cobbs and executed by a robust ensemble.
Lovely set design by Peter Marsh and James Maxted utilized large multi-sided set pieces that rotate to represent the interior of the Turnblads’ home, Mr. Pinky’s dress shop, Corny Collins’ studio, and the record shop. Add the brightly colored set decoration by Mel McCleerey and Becky Gould-Levine, plus period costume design by Riley Leonhardt, and the result was a vibrant ’60s style and vibe.
The story takes place in Baltimore in the 1960s and follows plus-sized, dance-crazed high schooler Tracy Turnblad, played with pure innocence and contagious positivity by Lindsay Nicole Steinberg. Steinberg kicks off the show with the effervescent “Good Morning Baltimore,” celebrating the beauty Tracy sees in her city.
One of my favorite numbers and a stellar tone-setter for the premise, “Good Morning Baltimore” highlights Tracy’s self-confidence and remarkable ability to embrace her own unique perspective and find the courage to pursue her dreams, even in the face of opposition and downright nastiness.
The embodiment of ugliness is displayed by Velma Von Tussle (Katie Weigl), the racist and body-shaming producer of the televised, teen dance sensation, The Corny Collins Show, and she shows her shallowness immediately when singing of her own former greatness in “(The Legend of) Miss Baltimore Crabs.” Von Tussle is what happens when a Karen has a position of power and has bought into her own false delusion that the corporation she works for sees any value in her beyond their bottom line.
And demonstrating that hate is learned is Velma’s spoiled, blonde daughter, Amber Von Tussle, played convincingly by Chelsea Williamson, with an obliviousness and privilege that makes her a villain who is a guilty pleasure to hate.
Williamson’s Amber is one of the Council Members on the Corny Collins Show, along with heartthrob Link Larkin (JJ Calavas), Brad (Mauro Manganello), Tammy (Morgan Taylor), Fender (Zach Burgess), Brenda (Syd Austin), Sketch (Luke Dollery), Shelley (Jessi Shull), IQ (Wyatt Underwood), and Lou Ann (Megan Berk). The group sings the ironic “The Nicest Kids In Town” as an intro to the false “purity” of the show’s council.
Justin Harmon is slick and incredibly charming as the smooth-moving Seaweed, who is the catalyst for Tracy earning a position as the new face on the Corny Collins Show, hosted by the engaging Corny Collins himself (Jim Bowen-Collinson). Seaweed also introduces Tracy to his mother and hostess of monthly “Negro Day” on the same network, Motormouth Maybelle (Lauren Baker).
Baker is outstanding in the role of Motormouth, and her first featured song, “Big Blond and Beautiful,” closes out Act One with powerhouse singing and dancing by the cast, spotlighting the fabulous rhythm of Adrianna Weir’s Li’l lnez. It sends the audience into intermission with a burst of empowerment and pride.
But it is in the poignant and soul-stirring “I Know Where I’ve Been” in Act Two that Baker’s Motormouth truly shines. The lyrics tell the story, but Baker brings raw emotion that moved me to tears when she sings the painfully relevant lines
There’s a road we must travel
There’s a promise we must make
There’s a dream with the future
There’s a struggle that we have yet to win
Use that pride in our hearts
To lift us up to tomorrow
Cause just to sit still would be a sin
I know where I’m going
Lord knows,
I know where I’ve been
And it is this shameful, persisting relevance of the material that fuels the passion and eager reception of a nearly 40-year-old musical. Director Melanie McCleerey says as much in her program notes, stating:
Unfortunately, as a nation, we continue to grapple with racism, body shaming, and exclusion. While progress has been made, the fight persists. As a white director of Hairspray!, I aimed to give the story full exploration and justice. This included facilitating discussions among the cast, organizing a field trip to the Smithsonian’s National Museum of African American History and Culture, and exploring the Baltimore African American Museum and John Waters’ childhood neighborhood. We’ve had incredible discussions about systemic racism and heard personal stories of daily injustices related to each theme in the show.
The entire cast of the PWLT’s Hairspray did an outstanding job delivering the heart-warming, feel-good story that prevails in spite of powerful elites, the sway of money over morals, and the historic whitewashing of our country.
Jessica Mabry is delightful as Penny Pingleton, the spunky best friend and biggest fan of Tracy. Penny displays the unconditional love and support of a true friend while dealing with her own demons in the form of her stick-in-the-mud, racist mother, Prudy (Jill Figueiras).
Michael Barret Jones plays Tracy’s protective but well-meaning mother, Edna Turnblad. Jones’ Edna is a crowd favorite from the start, thanks to her tell-it-like-it-is demeanor and incredibly kind heart. The song “Welcome to the ’60s” showcases Edna’s insecurities as Tracy helps her out of her shell and shows her mom, leading by example, that she can live boldly in her own skin and raise her head with pride. Shout-out also to the gorgeous backup vocals of the Dynamites in “Welcome to the ’60s”, portrayed by Aliya Gardner, Taylor Body, and Keyera Whiting.
The sweet “(You’re) Timeless to Me” sung by Edna and Wilbur (Philip Krzywicki) Turnblad is also a standout number. While it’s a bit of a fluff song in a show piled with biting social commentary and dynamic dance moves, Krzywicki and Jones deliver a touching and sweet duet that reminds the audience of the importance of valuing the people around you and never taking for granted the relationships that we always expect to be there. Even the most solid of connections require attention and care and can serve as a soft place to land and a good source of comfort in an otherwise unpredictable and unkind world.
And not to be matched is the energetic and joyous show-closing song, “You Can’t Stop the Beat,” featuring the entire company. Steinberg’s effervescent Tracy has won the day with her spunk, dedication to social justice, and overwhelming and contagious desire to do what is right.
I’ll close out using Director McCleerey’s well-stated hope for the future:
Let’s all emulate Tracy Turnblad, using our voices to fight for what is right. Let’s embrace love, offer help, and extend kindness to one another. When we unite to inspire change, as the song says, “you can’t stop the beat!”
Running Time: Approximately two hours and 45 minutes, with one 15-minute intermission.
Hairspray, the Broadway Musical played from July 11 to 20, 2025, presented by Prince William Little Theatre, performing at the Gregory Family Theater at the Hylton Performing Arts Center located at 10960 George Mason Cir, Manassas, VA. Further details on upcoming PWLT productions can be found online.
See the program here.
Hairspray, the Broadway Musical
CAST
Tracy Turnblad – Lindsay Nicole Steinberg; Corny Collins – Jim Bowen-Collinson; Amber Von Tussle – Chelsea Williamson; Brad – Mauro Manganello*; Tammy- Morgan Taylor*; Fender – Zach Burgess; Brenda – Syd Austin; Sketch – Luke Dollery; Shelley – Jessi Shull; IQ – Wyatt Underwood; Lou Ann – Megan Berk; Link Larkin – JJ Calavas; Prudy Pingleton/Gym Teacher/Matron – Jill Figueiras; Edna Turnblad – Michael Barret Jones; Penny Pingleton – Jessica Mabry; Velma Von Tussle – Katie Weigl; Harriman F. Spritzer/Mr. Pinky/Principal – Chris Anderson; Wilbur Turnblad – Philip Krzywicki; Seaweed J. Stubbs – Justin Harmon; Duane – Rasheed Williams; Gilbert -Tyrus Sanders*; Stooie – Tristan Stokes; Thad – Darien Weems; Kamilah (Dynamite)/Lorraine – Aliya Gardner; Shayna (Dynamite)/Monique – Taylor Body*; Judine (Dynamite)/Cindy Watkins – Keyera Whiting; Li’l lnez – Adrianna Weir; Motormouth Maybelle – Lauren Baker; Li’I Inez Understudy/Ensemble – Harmony Jackson; Ensemble – Heather Taylor; Ensemble/Guard – Amelia Marsh; Ensemble – Erin Miller
*Dance Captain
PRODUCTION TEAM
Director – Mel McCleerey; Producer/Social Media – Becky Gould-Levine; Co-Producer/Marketing/Graphic Design/Set Graphics – Bob Thompson; Stage Manager – Darcy Heisey; Musical Director – Nancy Huddleston; Conductor – Matt Scarborough; Choreographer – Philip Smith-Cobbs; Intimacy Coordinator – Kim Leone; Costume Design – Riley Leonhardt; Lighting Design – Ken and Patti Crowley; Hair and Makeup Design – Kyle Chua; Sound Design – Tim McCleerey and Wil Taft; Sound Assistant – Samantha Wong; Set Design and Build – Peter Marsh and James Maxted; Set Painting – Mel McCleerey and Becky Gould-Levine; Set Decoration – Mel McCleerey and Becky Gould-Levine; Properties – Mel McCleerey; Assistant Director – Nick MacFarlane; Assistant Costume Design – Ann Martin, Linda Sloan; Costume Assistant – Elizabeth Reyes; Assistant Properties Design – Ann Martin and Kristin MacFarlane; Program Design/Layout – Elena Thompson; Photography – Heather Regan Photography; Student Director/Extern – Brianna Dunnigan; Extern – Aleah Long; Paint and Build Assistants – Amelia Marsh, Cruz Swede, Jill Figuerias, Tom Manganello, Bob Thompson, Elena Thompson, Katie Weigl, Zach Burgess, Syd Austin, Jessie Shull, Rasheed Williams, Keyera Whiting, Mauro Manganello, Mary Gaskins, Aenea Gaskins, Adrianna Weir, Harmony Jackson, Chris Anderson, Cathy Gould, Philip Krzywicki, Ann Martin, JJ Calavas, Lindsay Nicole Steinberg, Kristin MacFarlane, Michael Barret Jones, Ryan Levine, Brad Miller, and Erin Miller.
ORCHESTRA
Justin Baughman – Reeds; Teresa Harris – Reeds; Jeff Menzin – Trumpet; Ben Greniven – Trombone; Serena Sela – Violin; Rebekah Greniven – Violin*; Pam Clem – Cello; Randy Dahlberg – Bass; James Madar – Guitar; Robert LaRose – Guitar; Chris Calavas – Drums; Carlos Figueiras – Percussion; Nancy Huddleston – Keyboard; Matthew Scarborough – Keyboard/Conductor
*at certain performances
Prince William Little Theatre’s next production is The Woman in Black, opening October 10, 2025, and running through October 19. The show will be directed by Cameron McBride, and the site states this synopsis:
Arthur Kipps, a lawyer obsessed with a curse that he believes has been cast over him and his family by the specter of a Woman in Black, engages a skeptical young actor (and his stagehands) to help him tell his terrifying story and exorcise the fear that grips his soul. It all begins innocently enough, but then, as they reach further into his darkest memories, they find themselves caught up in a world of eerie marshes and moaning winds.
