Carlisle Theatre Company's 'Hairspray' Heats Up a Chilly Fall Day

Outside the Carlisle Theatre, the leaves on the trees are changing colors, people are carrying around pumpkin-spiced food and drinks, and the air is cooling off. But inside the theatre, things are heating up with the bright colors of the 60s, and dancing that's just as vibrant, in Carlisle Theatre Company's production of Hairspray.

Plump teenager Tracy Turnblad has big hair and even bigger dreams, and she doesn't let her size, her detention, or even her own mother stand in her way of auditioning for the opportunity of a lifetime: The chance to dance on the Corny Collins Show. When she surprisingly ends up on the show, she sets her sights even higher as she aims to integrate blacks into the show on a regular basis instead of just on "Negro Day," which is only one day a month. While Hairspray is a fun and upbeat show from beginning to end, it also successfully manages to present the more serious issue of racism in the 1960s, making the colors of black and white just as much a part of the show as the bright colors.

Through her journey on the Corny Collins Show, Tracy (played by Aimeebeth Davis) connects with various characters, including teen heartthrob Link Larkin (played by Greg Athanasatos); lovable dancer Seaweed J. Stubbs (played by Jeremy Patterson), his little sister Little Inez (played by Annalise Prentiss), and his soulful mother, Motormouth Maybelle (played by Gabrielle Dixon), who is the host of Negro Day on the Corny Collins Show; and lying, cheating, scheming, fame-obsessed mother/daughter team Velma and Amber Von Tussle (played by Lindsay Bretz and Hillary Miller). Tracy's best friend Penny (played by Carly Lafferty) is there to support her every step of the way, and Tracy's mother Edna (played by Ryan Boyles), while initially against her daughter auditioning, quickly becomes one of her biggest supporters.

Dixon's passionate performance was one to note, as she had her own cheering section with a handful of people who gave standing ovations after each of her songs. Boyles also had a memorable performance, perfectly executing his role while sporting nightgowns, dresses, heels, and even a red feather boa. And the smooth dancing skills of Patterson are worth a mention as well.

The score (by Marc Shaiman) features plenty of catchy tunes, from the opening "Good Morning Baltimore" to the closing "You Can't Stop the Beat," and the 36-member cast wastes no time showcasing top-notch dancing and choreography. While the voices in the show are good, the energetic dancing takes center stage. That the talented cast manages to sing while enthusiastically executing the non-stop dancing is a big part of what makes this show so spectacular. The 10-member orchestra has no trouble pumping out the fast-paced music, which only enhances the energy of the performance. And the costumes, sets, and lighting provide plenty of bright color to round out the production.

Carlisle Theatre Company's Hairspray is a fun, upbeat, and impressive production that heats up a chilly fall day better than any pumpkin-spiced latte ever could. Audiences of any age can enjoy this family-friendly performance filled with quality music, dancing, humor, and yes, hairspray. 

Hairspray runs at Carlisle Theatre through October 18. For additional details and ticket information, please visit www.carlisletheatrecompany.com/.

Review: Jesus Christ Superstar at Carlisle Theatre

When a theatre makes the decision to perform a well-known classic in a modern way, it's taking a chance. It either works or it doesn't; there's no in between. In the case of Carlisle Theatre Company's production of Jesus Christ Superstar...it works. And it works well.

While the show still boasts the same dramatic intensity, raw emotion, and familiar Andrew Lloyd Webber music as the original 1970 rock opera, it also brings elements such as social media, corporate America, and modern technology into the production. Throughout the show, images of Twitter, YouTube, BuzzFeed, and even the Carlisle Sentinel flash on a large screen on the stage, providing "news" of Jesus and the disciples. Characters are given a modern makeover, often doing scenes in settings like a board room or even on a golf course. Outdated props like reporters' bulky cameras and tape recorders have been replaced with smartphones.

In addition to these elements, live video cameras capture various moments of the show and project them onto the large screen, enabling the audience to really connect with the emotion of the performers as they present the story of Jesus's last days.

The cast features some very talented actors, including Michael Miller (Jesus), Emily Falvey (Mary Magdalene), and Jeremy Patterson (Judas). Miller delivers an impressive performance, most significantly in his ability to transition from a smooth and controlled vocal to a rock star scream in an instant. Falvey's voice is a refreshing contrast to the electrifying rock music, specifically in her performance of "I Don't Know How to Love Him." And while Patterson performed well throughout the show, he was at his best when leading the Soul Sisters and Angels in "Superstar."

Ryan Boyles plays the role of Pontius Pilate, and at first seems to blend in with the cast. But the more time he spends on stage, the more he shines, and he ultimately delivers a really commanding performance in the "Trial Before Pilate (Including the 39 Lashes)." Ric LeBlanc (King Herod) provides an entertaining performance in "King Herod's Song," which has been turned into a televised show, "God or Fraud," where King Herod hosts an episode with Jesus, and fictional audience members can text their verdict of "God" or "Fraud." And Sushma Saha is a burst of energy as she takes on the role of Simon (typically played by a male), and boasts confidence and vitality in "Simon Zealotes/Poor Jerusalem."

With the exception of the large screen on stage, props were very basic and minimal. Costumes were also basic and minimal, with actors mostly wearing street clothing that could easily be found today on a college campus or in any number of popular mall stores. But this show doesn't need big, fancy props or costumes, and honestly I feel that the minimalistic approach fits perfectly with the modern theme of the show and makes it feel more real.

My only real criticism of the show is that I was underimpressed with the death scenes. I don't mean to sound morbid here, but there was very little attention drawn to Judas's suicide or Jesus's actual death. They were both brief and anticlimactic, which came as a surprise to me, considering the intensity of the rest of the show. I should say here that I've seen more than a few productions of this show, and there have been times where Jesus's death seems to go on and on forever (and ever and ever). But I think there's a middle ground, and in this production I would have liked the death scenes to be a little more dramatic.

The way the show ends catches the audience a little off guard. In my opinion, it ends the way I've always felt this show should end, and I was glad to finally see a production of this show that ends this way. I'm not going to give away anything else here, as I don't want to ruin the effect for anyone who's planning to see it. I'll just say that it makes a statement, and I think it's one of many great decisions that went into creating this spectacular production.

If you're looking for a superstar production filled with powerful music, intense emotion, and amazing local talent, then this is one show you don't want to miss. Overall I give this production 8 out of 10 standing ovations.

Jesus Christ Superstar is playing at the Carlisle Theatre through October 19. For more information and to buy tickets, please visit the Carlisle Theatre Company's website at www.carlisletheatrecompany.com. And for a little taste of the show, check out the preview video below: