I can’t see why people disagree each time I tell them what I know is true— and I’m telling people— the Suburban Players of Saint Demetrios’ production of Hairspray is where it’s at! Now run and tell that! Marking their 50th anniversary season, and the first of many area productions of Baltimore’s iconic musical, the Suburban Players of Saint Demetrios are putting on an extraordinary show— a true Bawlmer extravaganza, hon! And you won’t want to miss it! Directed by Lauren Hampton with Musical Direction by Steven Edward Soltow with Choreography by Aime Bell, this high-octane, up-tempo, feel-good show is exactly what the world needs right now and you’ve got three weekends to catch it in action! But be forewarned— every single Saturday matinee is already SOLD OUT and the remaining show dates are booking up quickly! Produced by Smaro & Tom Cook Jr., this labor of love is an exquisite experience with some of Baltimore’s most talented performers on the stage. And if you want an extra-special treat? Book yourself into one of the performances with the stupendous home-cooked Greek dinner (Kitchen Coordinators Sam & Mary Tsakiris and their team are out of this world) it’s truly the finest dinner theatre experience you can have anywhere in the state, no question.
Technical Director Pete Beleos and his Design Team (of which there are nearly as many as there are cast members this year!) have once again outdone themselves with the two-tiered set, which extends all the way out into the house and well down the back of the gymnasium space. It’s authentic Bawlmer, hon! H&S Bakery, Eagle and a bunch of other notable shops of Baltimore’s 1960’s hay-day are cropping up in the show’s scenery, which really transports you right to the heart of Charm City where Hairspray takes place. Lighting Designer Patrick Yarrington augments the impressive set with all of those mod-pop colorings in bright orange, purple, teal, yellow, and pink, not only using them to preset the house with speckled colors but also all throughout the performance. Yarrington’s illuminating light work could be a show all its own, particularly with backlighting the shop-windows and drop-lighting the shimmer curtain to make some of those more effervescent musical numbers really pop. Yarrington has a handle on how and when to use ‘color effect’ lighting tactics too— “Miss Baltimore Crabs” gets a steamy red bath and “I Can Hear the Bells” gets that surreal blue-white wash to give you the dreamscape notion; his lighting is amazing.
Lead Scenic Artist Keri Freburger (and her equally stacked team of some half dozen or more painting assistants) really get that two-tiered set looking gorgeous; the detailing on the brick work, the nuance in the signage; it’s really impressive. It aligns with the Costume Rentals from The Costumer & Tidewater Players (as coordinated and overseen by Mark Briner) and Properties Rentals from The Bel Air Drama Company (overseen by magician-stage manager and props master Dan Morelli.) It’s a scenic feast (nearly as good as all of the phenomenal Greek food you’re getting before the show) and you won’t believe how authentic some of the pieces look. All of those glorious dresses, particularly for the end scene— each costume is just more eye-poppingly 60’s than the next!
Director Lauren Hampton is really working theatrical magic with this production of Hairspray. 82 people seems like a lot of people— and holy-groove-balls, baby is it ever— but Hampton has done some really impressive and clever things with blocking and creating ‘street scenes’ out in the house and in the aisles of the audience to keep the stage from looking crowded. She includes more dancers in the “Nicest Kids in Town” scene but doesn’t ‘create extra Council Members.’ She has Bawlmer citizens hanging out their second story windows during “Good Morning, Baltimore!” talking on their tin-can-phones! It’s really incredible the way she handles the blocking. Ordinarily in community theatre when a show finds itself in possession of an ‘accordion ensemble’ splitting up track-roles doesn’t often solve the problem, but it works perfectly under Hampton’s seasoned direction— taking Harriman F. Spritzer (Chuck Hamrick), the Patterson High Principal (Kendra Keiser), and Mr. Pinky (Dean Pappas), traditionally played by one actor, and splitting them up so more members of the community have featured cameo moments. The same is true for the Gym Teacher (Casey Lane), who is normally lumped into another character track.
Hampton doesn’t stop in her perfect balancing act either; she’s really bringing the show down home to Bawlmer, hon! See if you can’t spot Annie Utz and Natty Boh in the ensemble during “Without Love.” There’s a lot of little hidden moments of ‘audience immersion’ that really brings the streets of Charm City and the heart of Hairspray directly to the audience in this production and it’s a wonderful experience. With Stage Manager Dan Morelli lending his expertise to keep Hampton’s break-neck pacing in line (and the assist from Backstage Crew Chiefs Kenzie Cooney & Avery Carroll) the show zips along naturally; the shimmer curtain streaks in and out and scenes just pop and the show keeps grooving. Keep your eye out for some of the fun-loving and free-wheeling ensemble (and named characters) who might just pop up in the house throughout the performance as well!
If there’s a complaint to be had about the production (and it’s so unfortunate because in years past this has not been an issue and the show was otherwise so impressive you hope they find a way to fix it as the run goes on) the mics were somewhat of a calamity all throughout the evening. Pops, low-res feedback, dropouts, you name it. It was almost like the heavens saw that the show was too good and decided to even the playing field by giving them the microphone-chaos from h-e-double-you-know-where. It was unfortunate as this cut out some of the Council Member solo lines and some of the other supporting character volume during the show.
Back to the fabulousness of the show— Steven Edward Soltow’s live orchestra pit, which for the most part were balanced from a volume-standpoint consistently throughout the performance. (That’s a tremendous undertaking considering the players sit in a faux-orchestra pit with the catwalk built out around them and zero over-stage masking to dampen their volume.) Soltow, conducting and on keyboard1, leads a fine bunch (featuring Benny Griese on keyboard2, Alex Thanicatt on bass, Griffin Quinnan on guitar, Daniel Czyz on drums, Johanna McGuire on reeds1, Jacob Neville on reeds2, Connor Mathers on trombone, Alex Perloth on trumpet) through each powerful number, keeping rhythm, time, and tempo sublimely.
Some of the show’s extra-dazzling magic is found in its choreography, by way of Choreographer Amie Bell and Dance Captain Erin Acerno (who’s fancy moves for ‘The Madison’ are all the rage!) Bell creates a great deal of high-octane moves to match those amazing up-tempo songs, particularly for “Nicest Kids in Town” and “You Can’t Stop the Beat.” Bell, like Hampton, keeps her dancers to a controlled number (even when they’re packed on stage for the ‘sock hop’, which seems reasonable as you’d likely have every kid in town trying to be seen by Corny Collins and crew) and you never feel like the choreography suffers because of it. There are a lot of really great moments that feature enthusiastic and energetic dancing all throughout the performance but “Run and Tell That” as well as the show’s big finale are two of my personal favorites (followed closely by the duet-dancing between Edna and Wilbur during “You’re Timeless to Me” but that could get its own write-up for all their adorable antics!)
You definitely cannot stop the motion of the ocean of these ensemble of a million. Okay, okay, not a million but when they sing (on-stage and off) you can hear them from one end of Cub Hill to the other! This pumped-up, hyper-enthused, insanely energetic and eager ensemble (Amelia Campbell, Ananda Morrow, Angelo Poletis, Annie Katsikides, Austin Buerhaus, Basil Lambros, Casey Lane, Cat Kohlbus, Charity Gilbert, Christina Howard, Chuck Hamrick, Danny Dance, Dean Pappas, Debbie Martin, Derek Cooper, Ellie Lyons, Ellie Papathakis, Erika Shook, Finley Harper McCully, Gianna Libertini, Hazel Slade, Holly Ruhling, Hope Cassidy-Stewart, Isabella Tanase-Coles, Jasmine Mays-Robinson, Joshua Ikotun, Keira Cassidy-Stewart, Kendra Kaiser, Maegan Read, Myles Taylor, Nicole Katsikides, Nora Acerno, Rebecaa Ragan, Rita Mallouh, Ryder Bordes, Sam Brady, Shannon Ragan, Shannon Wells, Sofia Martsoukos, Sophia Libertini, Valerie Sacco, Victor Scigala, Zoe Stoltzfus, Zoey Cashin, Zuri Bacai) is turning heads every step of the way. There are so many individuals who have all these lovely little moments— one of the most notable is Victor Scigala as the unnamed station-assistant to Velma, who keeps trying to enjoy himself but then catches a ‘if looks could kill’ glare from Velma and has to settle back down into moping around like a miserable lackey.
There’s no question that the ensemble is chock-a-block with raw vocal talent. And Jasmine Mays-Robinson, Ananda Morrow, and Charity Gilbert prove that without a doubt. Featured as The Dynamites, this trio of powerhouse vocalists sashay out onto the catwalk at the end of “Welcome to the 60’s” and just belt-blast their faces off with riffing-options that have the crowd going wild. They’re selling vocal fire as dazzling bright as the sequined red dresses that their characters are wearing. And while you won’t get any brassy belts out of Tammy Oppel in her doubled-up character track of Prison Matron and Prudy Pingleton, you will get the most over-the-top and exaggerated imitation of a down-home-Bawlmer hon accent flying out of her face every time she speaks. The sheer shenanigans of the chase-around with Penny and her overall reaction to the penultimate moments of the show (and you’ll hear and see her coming from way down off Cromwell Bridge!) are absolutely hysterical.
You wanna meet the nicest kids in town? Then you’ve definitely got to come on down to this production of Hairspray! Filling out the Corny Collins show dancers (and assorted named council members) are Drew Opdyke, Emma Kessler, Erin Acerno, Evelyn Acerno, Jordan Burch, Kyle LaPosta, Maeve Acerno, Meagan Jenkins, Mia Novak, Ryan Bordenski, Sophia MacKinnon, Stanley Evans, Syd Goldstein, and Veronica Lane. And this bunch of 14 youngsters really puts some pep into their step, particularly when bouncing and jazzing their way through “Nicest Kids in Town.” Heading up the Corny Collins Show and the aforementioned ‘Nicest Kids’ is Mr. Corny Collins himself, Austin Barnes, who is channeling TV-personality meets Elvis meets attitude all in one fell swoop. He’s got great vocals for both “Nicest Kids in Town” and “It’s Hairspray”, which is loaded with teasing innuendo. There’s a panache and an ease with which Barnes approaches the role, perfect for this iconic TV-host and he’s easily able to mouth off at Velma or engage earnestly with Tracy. He’s even got dance moves that rival those zany dancing kids on his show!
John Waters may not have been a fan of Jim Henson but Allison Berger and Katie Cashin, playing Amber Von Tussle and Velma Von Tussle, respectively are channeling their inner Muppet in their respective ‘villainous’ antagonist roles. Berger, who is the peppy, squeaky ‘it-girl’ amongst the Corny Collins teens is a vocal rocket, no question, and when she does her “Cooties” number it’s wild. (Keep an eye on her hairdo in that number, it has a character-mind all its own!) She’s as animated as her character’s mother, the self-titled Miss Baltimore Crabs! Cashin is squeaking out her lines often in an octave that only dogs can hear, which is a unique choice for this character, really pushing Velma Von Tussle into that ‘Muppet-Disney-goofy-villain’ category. Though don’t be fooled, she may read like a melodramatic caricature, when it’s time for her to put the vocal hurting on “Miss Baltimore Crabs” and its reprise? She delivers beyond a shadow of a doubt.
Loveable Link Larkin (Aaron Knight) is a little more humble, a little more down-to-earth, and still a little cheesy— just the way the libretto intended— and fits the bill for the ‘love interest’ character. Knight has a smooth set of vocals that he readily lends to “It Takes Two” and “Without Love.” There’s a lot of really intricate moments crafted between Knight and Kaitlyn Marie Wissel’s Tracy which just feel really heartfelt and genuine whilst still maintaining that ‘early-romcom’ humorous vibe. He’s got decent dance moves, a positive attitude, and is well-suited in the role. In the diagonal-cross-opposite role of Penny Pingleton (you know, the best-friend of Tracy who finds a great interest in Seaweed?), Piper Biemiller is bringing her own special blend of excellent vocals and chipper little nerdy to the table. The way she interacts with Tracy and with Seaweed really adds that little extra something to the show. And when she gets to showcase her vocals during “Mama I’m a Big Girl Now” and her section of “Without Love” you know she fits right in with the rest of the talented cast.
Selena Mason is going places should she choose to pursue musical theatre as a career choice. Playing Little Inez, Mason makes you wish the character was written into the script more readily. She has an astonishing voice, thoroughly impressive with its tonal quality, its raw power, and its overall ferocity— and she’s only in eighth grade! There’s an undeniable spunk to the way Mason plays the character too, even when she’s having her moment of duet-sorrow with Tracy, you can feel that determination radiating through her body and informing her song. She’s a gem!
If you can pick your jaw up off the floor long enough, after being thoroughly amazed at Josh Allen’s insanely limber dance moves, you’ll be shouting your head off when it’s his turn to receive applause for playing Seaweed J. Stubbs. There’s an indefatigably frenetic energy that is jittering inside of him from jump street and he becomes the beat of every scene that he’s living in. You can hear that the range of Seaweed is written right where Allen’s natural range break is in his own vocal wheelhouse and I point that out only because of the incredibly skilled acrobatics he’s doing to make the song work for him. It’s really impressive. And the enthusiasm, tenacity, and undeniable joy that he’s bursting through “Run & Tell That!” with is just astonishing. You get that same level of switched-on connectivity with Allen in his section of “Without Love” and the whole audience is just rooting for him every time he’s on stage.
Blazing a path of confidence a mile wide, Angie Williams is bringing the house down as Motormouth Maybelle. (It has to be a misprint in her bio that she’s never performed before; she’s that good.) You hear Williams’ sing and you’ll be inspired— she’s vocally lit— man that girl’s on fire! When she launches into “Big, Blonde, and Beautiful” it’s like a firecracker exploding on stage with talent and charisma and vocal prowess all bundled up in this blaze of glory. And she’ll bring you to your knees with the emotional gut-punch that is “I Know Where I’ve Been.” The song is written to be evocative, to make you feel, but Williams transcends mere feeling and emotionally eviscerates the hell out of those lyrics, ripping raw, unchecked pathos into those powerhouse belts— I can honestly say I’ve cried once or twice at a Motormouth here and there or I’ve gotten goosebumps, but never both, and certainly never both as intensely as I did in hearing her slay that song. If you aren’t moved by William’s performance, particularly in “I Know Where I’ve Been” then it’s time to do a pulse check on yourself.
If you want all the warm and fuzzies, Gary Dieter and Dickie Mahoney are delivering them tenfold as Wilbur and Edna Turnblad respectively. There is something so gosh darn cute about their married couple you just want to giggle and squeeze them together in a great big hug. Known for his comic antics on stages all across Baltimore, Dieter is playing the ‘straight man’ character with Wilbur and it’s such a delightful surprise to see all the little nuanced moments of humor while he earnestly engages with Tracy and Edna. He’s funny and sincere and is just a delight to watch. When he and Mahoney go at it for “You’re Timeless to Me” it’s like watching the sweetest old married couple you ever did see just enjoy one another. They feel so authentic together on stage and play so well off of another that whole number is enough to completely wipe your mind of all the outside troubles of the world, even if only for the length of the song. There aren’t enough words to describe how wholesome, how wonderful, and how truly realistic their cheeky, fun, tender-loving relationship reads on stage.
Mahoney, as the self-acclaimed ‘biggest thing in brassieres’ Edna Turnblad is a hoot. From the moment he opens his mouth you’re hearing that perfect John Waters’ Bawlmer accent hon as he gripes about ‘warshin’ and arnin’ clothes. You get the ferocity of wanting to desperately protect Tracy, you get the humor of Edna with all those plucky little one-liners, and you get the vocal sensation that Mahoney brings to the stage no matter what role he dons. Singing with Tracy for “Welcome to the 60’s” and again for a verse in “Big, Blonde, and Beautiful” you get a taste of exactly what Mahoney can do with a song; it’s delicious! And all the outfits he finds for Edna to look fierce, fashionable, and fabulous? They are so seriously on fire.
Good morning, Kaitlyn Marie Wissel! Taking up the Tracy Turnblad hair-hoppin’ wig is no small feat and its one in which Wissel succeeds tremendously. Tracy opens the show in that bed— and you get one shot— one note to set the whole tone of the show. And everyone’s waiting, knowing what a Tracy can sound like, what a Tracy should sound like, what they hope for a Tracy to be? And Wissel nails it. Bursting with energy and huge vocals that support all of that vocal intensity, she carries each song with a hearty pop-blended sound so that you get the sustains, the belts, and the beauty the beauty of the music without sounding so modern that you forget she’s in 1962. Wissel is bringing introspection to the character, which rings through in more than just the “Good Morning, Baltimore (Reprise)” section of the show. She’s living in each moment, making discoveries, finding a refreshing new take on the character that we all know and love. And even when she’s faced with moments of doubt and feeling down, that internal smile is resonating through her body language until it eventually makes its way back out onto her face. Wissel is really living the dream as Tracy Turnblad and you should see her knock it out of the park at Suburban Players this February.
What are you waiting for, Baltimore? See 50th anniversary show at Saint Demetrios! See the first of the 2025 Hairspray parade; see all these amazingly talented people who are putting on an extravaganza for you and see just how much— you can’t stop the beat!
Running Time: 2 hours and 35 minutes with one intermission
Hairspray plays through February 22nd 2025 with the Suburban Players housed at the Saint Demetrios Greek Orthodox Church in the Hermes Rafailides Center— 2504 Cub Hill Road in Carney, MD. For tickets please call (443) 390-2981 or purchase them online.
