In the face of oppression, choosing joy is a radical act. Letting your light shine, even when forces around you conspire to block it out, is an act of resistance. Sharing and spreading that joy is even more powerful still because of its ability to inspire change. This is what Najee A. Brown leaned into as the director and choreographer of The Umbrella Stage Company’s recent production of “Hairspray, the Broadway Musical.” (Book by Mark O’Donnell and Thomas Meehan; music by Marc Shaiman and Scott Wittman; based on the film by John Waters.)
Change is a-coming
Set in Baltimore, a city known for systemic segregation in 1962 as the civil rights movement was heating up, the play addresses themes of racism, cultural appropriation, classism, body shaming, bullying, and belonging. Yet it does so through humor and warm-hearted, energetic song and dance.
The story is about Tracy Turnblad (Nora Sullivan), a full-figured teenager with bouffant hair who dreams of dancing on The Corny Collins Show and has the chops to do so. Tracy auditions and is at first rejected, and teased, because of her size. She later befriends and learns exciting new dance moves from Black teens while in detention for her big hair. Emboldened, she earns a spot on the show. With increasing indignation toward social injustices, she sets out on a mission to do away with “Negro Day” (a recurring monthly segment on The Corny Collins Show where Black teenagers are allowed to dance on television) and integrate the show…