A joyous ode to bad-hair days

The Tony Award-winning musical “Hairspray” may be running for only seven weeks at the Pantages Theatre, but it’s clear that big hair won’t be going out of style any time soon. Even after this road show winds down and its New York run ends, “Hairspray” will likely continue to play in community theaters and high school auditoriums for decades.

Of all the Broadway musicals to debut in recent years, “Hairspray” is the one show that seems most likely to become a bona-fide standard. In fact, its well-manicured mix of nostalgia, optimism and political correctness make it such a textbook example of the commercial musical, it almost feels like a revival.

Here in Hollywood, some of this familiarity may be the result of the show’s source, John Waters’ 1988 film of the same name that deals with one girl’s attempt to integrate a dance TV show; but much of it is simply the skillful rehashing of time-honored themes and shows.

There’s little in “Hairspray” you haven’t seen before -- except perhaps a lead character played by a large man in drag (more on that later). But if you’ve been watching new musicals lately, you probably haven’t seen many that put it all together with as much exuberance and fun.

The personification of exuberant fun in this “Hairspray” can be found in the lead role of Tracy Turnblad. Marissa Jaret Winokur won a Tony in 2003 for her performance as a plump but proud schoolgirl who puts the more into Baltimore. Returning to the part after a year away from Broadway, Winokur still performs with the energy of a newcomer, and her Tracy remains an irresistible banshee in bobby socks.

More than mere chutzpah, Winokur brings a devotion to her role that makes Tracy seem like a real teenage girl, not just a stock character. Using talent and instinct, the young actress succeeds in making Tracy’s bleach-blond dreams seem as though they come directly from her heart, not from a script she memorized years ago.

The actress has a big voice that belts every note with conviction. But most of all, she possesses that rare theatrical ability to connect with audiences. Though you may see a production of “Hairspray” in the future, Winokur’s Tracy is reason alone to see it now.

Winokur is not the only member of the New York cast on hand to reprise a role: Matthew Morrison returns as the hunky Link Larkin. But most of the performers in this touring production are more than up to their tasks. Susan Cella and Sandra DeNise provide laughs as Velma Von Tussle and Penny Pingleton.

The real standout of this ensemble, however, is Terron Brooks in the role of Seaweed J. Stubbs. Brooks has a cool, comic presence that recalls a young Cleavon Little. In addition, he has a smooth, soulful singing voice that made “Run and Tell That” the musical high point of the evening.

Then, of course, there is the Vilanch Factor. Most Angelenos will not have had the pleasure of seeing Winokur’s Broadway co-star, Harvey Fierstein, perform as Edna Turnblad. Immortalized in the film version by the legendary cross-dresser Divine, Edna is “Hairspray’s” most flamboyant part. Though there was talk last year of bold plans to cast a woman as Edna in L.A., ultimately it was decided that her frocks would be filled by writer-comedian Bruce Vilanch.

Instead of a Fierstein’s gravelly baritone, Vilanch delivers Edna’s patter with a low-pitched bleat. With his large frame and fleshy, trapezoidal face, Vilanch in drag looks like Dame Edna’s ugly stepsister -- in other words, a perfect fit. But aside from his physicality, Vilanch’s performance is often at odds with the material.

Given his background, Vilanch’s comic timing is excellent. He insists, however, on underlining every joke by mugging to the audience after each punch line. That tendency, along with numerous double takes and other affectations, makes Vilanch’s Edna perhaps the hammiest local performance since Charles Nelson Reilly tried to turn “Strike Up the Band” into a one-man show. The only real harm in this is that he’s usually playing off Winokur, whose more natural performance suggests a real mother-daughter bond would be possible -- if only Vilanch were playing Edna as a character instead of a cameo.

Musical purists may wish they had Fierstein, but Vilanch does bring something new to this production. In his Act 2 number, “Timeless to Me,” Vilanch brought down the house as he broke character and interjected his own signature zingers into the show (On opening night, he let fly with Gov. Arnold Schwarzenegger, Whoopi Goldberg and Linda Ronstadt jokes, though they will likely evolve nightly as the run continues).

Unlike many mega-musicals, “Hairspray” wisely resists dwarfing its larger-than-life stars with super-sized sets or production design. The only thing big about David Rockwell’s scenery is the wattage of the colors, which brightly evoke a ‘50s polyester paradise. Likewise, William Ivey Long’s loud costumes and Jerry Mitchell’s choreography are quietly over-the-top.

Tony-winning director Jack O’Brien deserves much credit for keeping Mark O’Donnell and Thomas Meehan’s peroxide plot moving along briskly.

Ultimately, though, the roots of “Hairspray’s” successful stage makeover lie in Marc Shaiman’s music. Shaiman has long been known in Hollywood as a composer who can mimic any genre of music. He has scored everything from serious dramas to Westerns -- not to mention “South Park.” Like his film music, Shaiman’s show tunes don’t reveal a recognizable style or a unified sound, but they showcase his uncanny ability to find the right song for every situation.

“Grease” is an obvious influence here. But Shaiman and lyricist Scott Wittman seem to have learned the most from Alan Menken and Howard Ashman’s “Little Shop of Horrors.” As in that show, Shaiman and Wittman have fused cleverly coifed lyrics with the back-beat rhythms and doo-wop melodies of the 1950s. The result is catchy music that manages to sound both period and contemporary.

Shaiman, Wittman and company have not restyled the American Musical, but they do give it a good blow dry. Most of all, they’ve created a number of memorable roles that will continue to be relished by actors for years.

It may not be the most profound work of musical theater, but “Hairspray” aims to please and usually does, with lots of heart and aerosol.

*

‘Hairspray’

Where: Pantages Theatre, 6233 Hollywood Blvd., Hollywood

When: 8 p.m. Tuesdays through Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays

Ends: Sept. 5

Price: $27-$87

Contact: (213) 365-3500

Running Time: 2 hours, 40 minutes

Marissa Jaret Winokur...Tracy Turnblad

Bruce Vilanch...Edna Turnblad

Jordan Ballard...Amber Von Tussle

Terron Brooks...Seaweed J. Stubbs

Susan Cella...Velma Von Tussle

Charlotte Crossley...Motormouth Maybelle

Sandra DeNise...Penny Pingleton

Joanna Glushak...Prudy Pingleton

Blake Hammond...Harriman F. Spritzer

Troy Britton Johnson...Corny Collins

Matthew Morrison...Link Larkin

Kianna Underwood...Little Inez

Todd Susman...Wilbur Turnblad

By Mark O’Donnell and Tom Meehan. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. Based on the film by John Waters. Directed by Jack O’Brien. Sets by David Rockwell. Costumes by William Ivey Long. Choreography by Jerry Mitchell. Lighting by Kenneth Posner. Sound by Steve C. Kennedy. Production Stage Manager Kimberly Fisk.