Cry-Baby is John Waters’ paean to the myriad of teenager films made in 1950s and 60s, as well as an alternative homage to the coming of age/high school genre prevalent in 1980s American cinema. With the success of his film Hairspray in 1988 Waters entered the mainstream in the 1990s, creating the opportunity for some of his works to be adapted for the Broadway stage. Cry-Baby as a film and stage show did not enjoy the same success as Hairspray though like most of Mr Waters’ oeuvres has become a camp classic. This present Hayes production does not scrimp in sustaining its cult-like reputation as it is perfectly crafted and universally performed with precision, charm and great wit.
As with the teen flick phenomenon the plot is lightweight and somewhat immaterial. It’s a case of opposites attract, good versus evil and that love conquers all. John Waters does however send us a message – not to judge a book by its cover- as the story focuses on the tropes he enjoys cocking a snook at: teenage rebellion, alternative lifestyle, double standards, and his own middle-class upbringing. The plot centres on the interactions between a band of Baltimore delinquents, The Drapes, and the all-too-good squares – The Whiffles, a college performing group. Drape Wade “Cry-Baby” Walker (Christian Charisiou) creates turmoil when breaking a subcultural taboo: he falls in love with a square: Allison Vernon-Williams (Ashleigh Rubenach). Yes, we are definitely in Grease, Romeo & Juliet/West Side Story territory here. The two meet at one of Allison’s very benevolent grandmother’s events an anti-polio picnic, and become quite simply “infected” with each other, much to the chagrin of gran Mrs Vernon-Williams (Beth Daly) and Allison’s jealous boyfriend Baldwin (Joel Granger). Simultaneously fellow Drapes are amazed by this turn of events with Crybaby’s mate Dupree (Alfie Gledhill) warning him off, along with stalking wannabe girlfriend Lenora (Laura Murphy). Allison does the unthinkable and crosses the tracks to the
Drapes’ hang-out at Turkey Point, and during a session of heavy-petting they share their mutual loss-of-parents story. We learn that The Walkers were both sent to the electric chair as anarchist bombing terrorists. This has caused Wade to be the outcast he is. However, although hardened he can (on command) still shed a single tear (hence his moniker), a skill that impresses all the girls especially Lenora and the other “Drapesses”: facially disfigured Hatchet-Face (Manon Gunderson-Briggs) and conservative family runaway Wanda (Amy Hack), as well as his sister Pepper (Bronte Florian) – a soon to be single mother. Baldwin concocts a vengeful plan to get even and Cry-Baby is blamed. Well it seems the apple doesn’t fall far from the tree now, does it?. Chaos ensues, hearts are broken and truths are hidden. One light shines however as, on meeting Wade, Mrs V-W has become impressed by him, and as luck would have it she has overheard vital information. Will Mrs V do the right thing and save the day? And is there more to her than meets the eye? Is the iconic John Waters reveal brewing and awaiting in the wings? To say more would destroy the suspense in this not-to-be-missed spectacular.
Director Alexander Berlage has cast this extraordinary piece of work with total finesse. The strength of each and every voice and performance is a sheer delight. Beth Daly steals the show and Charisiou and Rubenach could not be anymore James Dean and Sandra Dee if they tried – their attraction is expertly rendered – not your typical musical mush at all. The support players and ensemble work their socks off and stage management backstage must be on their toes all night. The band is to die for and kudos to the sound designer (Tegan Nicholls) – at last a show where the volume allows me to hear the lyrics! Berlage has surrounded himself with massively creative talent. Mason Browne’s costuming has the WAOW factor in bucket loads and make-up by Oliver Levi-Malouf (along with wigs by Vanity) are period perfect. Their creations have great definition. Isabel Hudson’s set solves the conundrum of numerous scene changes. The world of the “respectable” lives within the boxed proscenium set – as if on TV – representing the ”ideal American way of life” while the Drapes inhabit the space in between that and the audience. They invade the auditorium as well as the white picket-fenced (in) world behind. Lighting design by Mr Berlage, in association with Veronique Benett, skilfully compliments the colour palette utilised by Ms Hudson and Mr Browne. Musical Direction (Nicholas Griffin) and Choreography (Cameron Mitchell) transport us in style and rhythm to this sugar-coated era.
This musical may appear to all fluff but it drives home that ”Watersian” quintessence of to thine own self be true. The celebration of truth and difference are on offer here. It can also be seen as thinly disguised autobiography as Waters, when a youth, lived opposite a Baltimore bad boy and, like Allison, he too eventually took that walk on the wild side.
Mark G Nagle – Theatre Now
Photography: Robert Catto
Cry Baby
Music by David Javerbaum and Adam Schlesinger, Book is by Mark O’Donnell and Thomas Meehan.
20 Jul – 19 Aug 2018
Tue – Sat 7:30pm
Sun 2pm
Venue: Hayes Theatre
Theatre Company: LPD in association with Hayes Theatre Co
Duration: N/A
