Review by Daz Gale
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When you think of John Waters’ movies as stage musicals, the one that immediately comes to mind is the classic that is Hairspray. That isn’t the only one of his films that has been adapted for the stage, however, and London audiences finally get a chance to see Cry-Baby, The Musical as it rocks up the Arcola Theatre in Dalston for an all-singing, all-dancing UK premiere. Would it repeat the success it enjoyed in America, where it was nominated for a Tony, or would it bore me to tears?
Based on the cult classic movie from 1990, the musical adaptation of Cry-Baby debuted in 2007, heading to Broadway the following year. It finally received its European premiere last year and now heads to the UK for the first time. Set in Baltimore in 1954, Cry-Baby tells the story of the strait-laced rich girl Allison who falls for the titular Cry-Baby, a bad boy with a good cause. As rivalries between the “Squares” and the “Drapes” intensify, love, deception and secrets from the past all come are all brought to the surface in a tale of rebellion and self-discovery.
Mark O’Donnell and Thomas Meehan have adapted the story for the stage in a show filled with humour. Classic tropes are played up for laughs with the tried and tested formula of the innocent girl falling for the wrong boy very reminiscent of Grease and deliberately so. I couldn’t always figure out whether Cry-Baby was actively attempting to be a full-blown pastiche of the genre or attempting to stand on its own two feet with the tone not as clear as you would hope. Still incredibly enjoyable either way, it just lacked a bit of definition in that respect.
The comedy in the writing shines throughout with jokes always landing and more innuendo than you can shake a stick at (at least I hope that’s a stick you’re shaking). Though the story isn’t the most substantial, it is not the main draw of this show and still plods along in predictable but always entertaining fashion. Having never seen the movie personally (though I plan to rectify that immediately), I can’t say how it compares but going in through fresh eyes is a great way to see how a musical stands up on its own and, in that respect, Cry-Baby is in pretty good shape.
Full of original songs from David Javerbaum and Adam Schlesinger, the music all has a familiar sound as if they are parodying classics from that era. A couple of songs I noted sounded extremely reminiscent of ‘Earth Angel’ and ‘Great Balls Of Fire’, again leaving me wondering how deliberate that was to evoke specific songs or whether the intent was to solely sound like that era of music. The familiarity is part of the charm though with songs with humorous lyrics and instantly hummable melodies. Highlights included the consistently hilarious ‘I’m Infected’ and the ridiculous ‘Girl, Can I Kiss Your Tongue’ while the rousing finale of ‘Nothing Bad’ ends the show on a high. The musical highlight for me came in the form of ‘A Whole Lot Worse’, expertly performed by Lulu-Mae Pears as Allison.
The Arcola Theatre in Dalston is a very intimate theatre with a capacity of 200 so perhaps not the most obvious of choices for Cry-Baby which boasts a 17-strong cast – the biggest in the history of this theatre. This is a big project, admirable in its ambition and showcases why the Arcola is one of the most exciting spaces for theatre at the moment, continually surprising and impressing with diverse and high-quality programming. The Arcola’s Artistic Director Mehmet Ergen directs with flair and style, using every inch of the theatre’s tight space to create a bold and captivating production. Inspired choices retain the fun factor of the writing and elevate the comedy with meticulous characterisations and a strong attention to detail, brought to life further with incredible choreography from Chris Whittaker. It felt as if this specific production was designed for a much bigger space, and it would be great if it does have a further life following this sure to be well-received run.
I can’t fault how big, bold and ambitious this production is, impressing me with its scale and how fantastically most of the elements were delivered. However, it wasn’t without its faults though. The use of space meant some moments got missed or resulted in you turning around completely to see the action, but that probably could not be helped with a cast this big. One issue which I hope was isolated to press night alone saw cast members microphones left on when they were no longer on the stage, with every conversation coming through the speakers in the theatre – this proved distracting throughout act two and should have been caught immediately rather than left to carry on until the end. That might not sound like the fairest of criticisms but it did impact the enjoyment of the musical and was a disappointing aspect in an otherwise incredible production.
Adam Davidson gives a star turn in his performance as Wade Walker, or ‘Cry-Baby’ as he is known. With bundles of charisma and a phenomenal singing voice, he proves what a remarkable performer he is, particularly in the jaw-droppingly good ‘A Little Upset’ sequence that sees him showcasing his moves every bit as impressive as his voice. Another standout in that sequence and throughout is Chad Saint Louis as Dupree W. Dupree, demonstrating a singing voice so outstanding, it bordered on stratospheric. The scenes with both Cry-Baby and Dupree together proved the most electric due to a fantastic chemistry between both actors, and combined talents so big, it stretched far beyond the intimate setting of the Arcola.
Lulu-Mae Pears delights with a sweet turn as Allison, demonstrating a real warmth and a sense of fun as the character unravels upon meeting her bad boy lover with Elliot Allinson a joy as Baldwin Blandish. A standout performance comes from Eleanor Walsh as the eccentric and over-the-top Lenora. Tapping into the exaggerated nature of the character, she delivers a frenetic and frequently funny performance that provided many of the best moments, with her big musical number ‘Screw Loose’ among the most memorable of the evening and had me crying tears of laughter. Another highlight comes courtesy of Shirley Jameson as Mrs Cordelia Vernon-Williams, whose big number ‘Did Something Wrong Once’ is a refreshing breather from the busy nature of the remainder of the show.
It may have taken a while for Cry-Baby to arrive in the UK but now that it is here, I hope we see a lot more of it in the future. If you loved Hairspray or just love a bit of harmless fun (though it does have a political message still relevant today), this may well be your new favourite musical. Big and overblown, it is a fantastic example of what can be accomplished at smaller theatres, particularly one as quality driven as the Arcola. Though not quite perfect, it is already in pretty good shape and I imagine it will get even better when it’s settled in a bit more. If you’re after a fun bit of escapism in the theatre, Cry-Baby is the show you have been looking for.
Cry-Baby. The Musical plays at the Arcola Theatre until 12th April. Tickets from https://www.arcolatheatre.com/whats-on/cry-baby-the-musical/
Photos by Charlie Flint