Fans of Hairspray rejoice! Another musical based on a John Waters’ cult classic film has made it to London, although it’s been a long journey since its Broadway debut to this UK premiere of Cry-Baby at the Arcola Theatre.
This vibrant and subversive musical, directed by Mehmet Ergen, is a high-energy romp through 1950s Baltimore, where social norms are challenged and teenage rebellion reigns supreme. Cry-Baby combines infectious rockabilly tunes with a narrative that is both nostalgic and refreshingly contemporary.
Cry-Baby tells the story of Wade “Cry-Baby” Walker, the charismatic leader of the Drapes, a group of rebellious teenagers from the wrong side of the tracks. When Allison, a strait-laced rich girl, falls for Cry-Baby, it sets off a chain reaction of events that pits the Drapes against the Squares, the epitome of conservative America.
This clash of cultures is beautifully encapsulated in the musical numbers, which range from the hilariously absurd “The Anti-Polio Picnic” to the soulful “Girl, Can I Kiss You with Tongue.”
The music here is the star of the show; all original compositions, each song feels wonderfully familiar, like something you may have heard in Grease, Hairspray or West Side Story. Ashton Moore’s musical direction ensures that the score, penned by David Javerbaum and Adam Schlesinger, is delivered with punch and panache.
Adam Davidson shines as Cry-Baby, bringing a perfect blend of swagger and vulnerability to the role. His chemistry with Lulu-Mae Pears, who plays Allison, is undeniable, and their romance is the emotional core of the show. The supporting cast is equally impressive, with standout performances from Elliot Allinson as the uptight Baldwin and Chad Saint Louis as Dupree W. Dupree. Special mention should be given to Laura Buhagiar who confidently stepped into the role of Mona for press night.
Given the musical’s setting, a more diverse cast would have been preferable, especially as this ensemble is the largest in Arcola Theatre’s history. And it feels it, at moments every inch of the stage is covered by the cast, with more members of the company joining the audience in the aisles, yet they deliver a dynamic performance that brings the 1950s to life with vibrant energy.
The creative team has done an excellent job in translating the film’s irreverent spirit to the stage. Robert Innes Hopkins’ set design effectively captures the dichotomy between the Drapes’ gritty world and the Squares’ pristine one, while Chris Whittaker’s choreography is both energetic and precise.
Cry-Baby is a satire, and its ability to balance humour with social commentary is exemplary. The show tackles themes of class division, social conformity, and the constraints placed on women, all while maintaining a lighthearted and entertaining tone.
This is particularly evident in songs like “Thanks for the Nifty Country,” which cleverly satirises American exceptionalism and the dangers of blind patriotism, something which seemed to resonate more deeply than usual with the press night audience. Mark O’Donnell and Thomas Meehan’s book contains some cracking one liners, many of which are delivered by Shirley Jameson’s Mrs Vernon-Williams.
While some may find the show’s irreverence and satire reminiscent of Waters’ other works, such as Hairspray, Cry-Baby carves out its own unique identity. It is a musical that celebrates rebellion and nonconformity, urging its audience to question the status quo and embrace their true selves. In an era where conformity is often prized over individuality, Cry-Baby is a refreshing reminder of the power of self-expression and the importance of challenging societal norms.
