Susan Granger’s review of “Cry-Baby: The Musical” (Marriott Marquis Theater 2007-2008 season)
Following the astounding success of “Hairspray,” another John Waters movie has become a bouncy Broadway musical.
Set in Baltimore, it epitomizes a 1950s high-school culture-clash. Much to her dismay, virginal Alison Vernon-Williams (Elizabeth Stanley) is a well-bred, ‘good girl.’ So when – at a ‘get-your-polio-shot’ picnic – she’s suddenly confronted by greasy-haired, swivel-hipped Elvis clone named Wade “Cry-Baby” Walker (James Snyder), whose parents were framed as Communists and executed for arson, an unexpected, inappropriate match is made.
Naturally, Cry-Baby doesn’t find favor with her snotty classmates and prim ‘n’ proper grandmother (Harriet Harris), and Alison hardly fits in with his grungy gang from the wrong side of town, including an ugly duckling called Hatchet-Face (Tory Ross), an arrogantly pregnant teen (Carly Jibson) and a crazy stalker (Alli Mauzey). Think of it as “Grease” without the memorable songs.
Mark O’Donnell and Thomas Meehan have adapted the popular 1990 cult cinema classic about the social divide, while David Javerbaum (writer on “The Daily Show”) and Adam Schlesinger (bassist for the pop group Fountains of Wayne) provide the subversive music and satirical lyrics. Although the comedic dialogue begs for better timing, director Mark Brokaw keeps the pace moving, aided in no small part by Rob Ashford’s imaginatively aerobic choreography, Catherine Zuber’s class-conscious costumes and Scott Pask’s flexible, minimalist set.
While it’s immediately obvious that James Snyder is no dangerously smoldering Johnny Depp (who created the motorcycle-riding screen role), he’s appealing enough, as is Elizabeth Stanley, even if she appears far too mature for the ‘sweet, innocent’ part. But the biggest laughs emerge from scene-stealing Harriet Harris.
Will “Cry Baby: The Musical” ever make its way into an anthology of Broadway’s Best? I doubt it. But it does offer a rollicking good time.