Cry-Baby

Book by Mark O’Donnell and Thomas Meehan

Music by David Javerbaum and Adam Schlesinger

Based on the 1990 John Waters movie

A Theatre Kraken  production directed by  Don Fex

The opening scene features a character being wheeled around in an iron lung expressing his regret that he didn’t have his polio shot, while the ensemble prepares for theirs, in a bouncy number called The Anti-Polio Picnic.

This is a pretty clear signal that Cry-Baby, the Musical, based on the 1990 John Waters film, is going to follow his trademark tone of being tasteless. Fortunately, the show, with book by Mark O’Donnell and Thomas Meehan and music by David Javerbaum and Adam Schlesinger, goes too far over the top to shock and just far enough to be funny.

 

For the story line, think slightly warped versions of Dirty Dancing, Grease, Romeo and Juliet/West Side Story. Rather than the Montague and Capulet families of the Shakespearean tragedy, we meet the Drapes and the Squares as bad-boy loner Wade “Cry-Baby” Walker falls for the upper-crust, innocent good girl Allison Vernon-Williams.

 

Like Waters’ big hit Hairspray, Cry-Baby is set in Baltimore, this time in the 1950s. It is generally regarded as Hairspray’s poor cousin, although it did gain recognition through a number of Tony nominations. Making it work depends a great deal on production, performance and musical quality and Theatre Kraken delivers a lively, joyous, high-energy production. As directed by Don Fex, with musical direction by Chris Lucas and choreography by Brenda Solman, this is a fun-filled show with well-defined characterizations from the principals — something of a feat as the script offers little more than stereotypes.

 

In the title role, Nicholas Dave Amott is a strong stage presence, tipping the hat to Elvis Presley, with a thin layer of James Dean. Emma Woodside delivers a convincing counterpoint as Miss Innocent, anxious to experience a little more of the wicked world.

 

As her grandmother, Christine Drew is suitably protective, while the always reliable Lawrence Evenchick is as flirty as required as the Judge. Alianne Rozon’s wild Wanda is emphatically tarty and, as always, particularly eye-catching for the excellence of her dancing and movement. Axandre Lemours is in great voice as Cry-Baby’s sidekick Dupree W. Dupree. Meanwhile, Kenny Hayes as Allison’s square boyfriend Baldwin Blandish and his trio of Whiffles (Ian McMullen, Carley Richards and Cameron Wales) have fun with such numbers as Squeaky Clean and This Amazing Offer.

 

In the amazing department, accommodating a cast of 19, plus a five-piece band on a relatively small stage without it appearing cramped, is noteworthy. Kudos to Fex’s direction and Solman’s choreography. The quality of Lucas’ musical direction is also a major factor in maximizing the fun and energy displayed on stage.

 

Cry-Baby continues at the Gladstone to May 19.

 

Director………………………………………….Don Fex

Musical director…………………………………Chris Lucas

Set…………………Don Fex, Christine Hecker, Brenda Solman

Choreographer…………………………………..Brenda Solman

Lighting………………………………………….Cameron Macdonald

Sound…………………………………………….Jason Sonier

 

Cast:

Wade “Cry-Baby” Walker………………………Nicholas Dave Amott

Allison Vernon-Williams………………………..Emma Woodside

Baldwin Blandish………………………………..Kenny Hayes

Lenora Frigid……………………………………Samantha De Benedet

Dupree W. Dupree………………………………Axandre Lemours

Mona “Hatchet-Face” Mainorowsky……………Steph Goodwin

Wanda Woodward (Dance captain)……………..Alianne Rozon

Pepper Walker…………………………………..Abbey Flockton

Mrs. Vernon-Williams…………………………..Christine Drew

Judge Stone………………………………………Lawrence Evenchick

Whiffles………..…..Ian McMullen, Carley Richards, Cameron Wales

Ensemble…….Kiersten Hanly, Emma Hickey, Jason Hopkins, Katherine Nye,

Sydney Powell-Goldsmith, Brenda Solman

 

Band

Director/piano……………………………………Chris Lucas

Saxophones/flute…………………………………Tariq Amery

Guitars…………………………………………….John Corkett/Corey Thomas

Drums……………………………………………..Trevor Curtis

Bass/Double bass………………………………….Normand Glaude