The critic was immersed in discussion of Jean Genet the morning after seeing La Jolla Playhouse’s world-premiere musical “Cry-Baby,” based on the 1990 John Waters cult film.
Shifting focus required the kind of palate cleansing one practices between courses of a gourmet meal. Sublime on the one hand, ridiculous on the other? No, none of that.
Comparisons are odious, and besides, the anthem-like finale of “Cry-Baby” (book by Mark O’Donnell and Thomas Meehan, songs by David Javerbaum and Adam Schlesinger) is worthy of a Pulitzer Prize. Titled “Nothing Bad’s Ever Gonna Happen Again,” the ensemble number embodies post-World War II optimism, when we truly did believe all things possible. Brilliant in ironic scope, the lyrics embrace Waters’ skewering of American society.
Where “Hairspray” examined racial attitudes, “Cry-Baby” explores class by juxtaposing two elements of teenage society in Baltimore circa 1954. Wade “Cry-Baby” Walker (James Snyder) and his tattooed pals are called the Drapes and come from the wrong side of the tracks. Allison (Elizabeth Stanley) and her set live in big houses on the other side of town and are called Squares. Though they go to the same high school, even the music they listen to and perform differs. Nonetheless, Cry-Baby and Allison fall for each other on first sight and their love song is “I’m Infected.” The Drapes accept Allison. The Squares abhor Cry-Baby because he stands for everything they fear.
Allison’s do-good grandmother, Mrs. Vernon-Williams (Harriet Harris, who copped a Tony for Mrs. Meers in “Thoroughly Modern Millie”) has set up an anti-polio picnic, at which the kids get their polio shots. Vernon-Williams’ 11th-hour confession, “I Did Something Wrong ” Once,” is emblematic of 1950s ideal womanhood ” keep up the pretense at all costs.
Allison and Cry-Baby escape the Square talent competition at the country club and take off for Turkey Point, his gang’s entertainment hideout, where they have a big romantic scene, along with drolly staged others, to the tune “Can I Kiss You (with Tongue)?”
Among the other Drapes are the “preggers” (possibly an anachronistic term, but who cares?) Pepper (diminutive Carly Jibson); the knife-wielding “Hatchet Face” (Cristin Paige); and Dupree (the amazingly gifted actor/singer/dancer Chester Gregory II, who is a “Hairspray” veteran). A hanger-on, the schizophrenic Lenora (Alli Mauzey) brings the show to a stop with “Screw Loose.” Though not as smarmy or passive-aggressive as his film incarnation, Baldwin (Christopher Hanks) is Allison’s bland boyfriend. He frames Cry-Baby with arson, resulting in his incarceration by Judge Stone (Richard Poe). Baldwin is part of a close harmony doo-wop quartet called the Whiffles, who open the town’s new Star-Spangled Fun Land with the gloriously patriotic “Thanks for the Nifty Country.”
Christopher Jahnke’s orchestrations are terrific and performed by an extraordinary 15-piece group under the baton of lively Lynne Shankel, who’s so much fun to watch. And it’s a real dance show, choreographed by Rob Ashford and brilliantly staged by Mark Brokaw. Scott Pask provides eye-catching, facile scenic elements, lighted by Howell Binkley. Peter Hylenski’s sound design is exemplary, and Catherine Zuber’s costumes are a period stitch.
But hey, the music is the thing, the singing is good, and it could not be better, a parade of musical styles with bang-on, amusing lyrics that just keep one smiling throughout the fast-paced 2 1/2-hour show. This show is the most Broadway-ready to come out of local environs in decades.
“Cry-Baby” continues Tuesday to Sunday through Dec. 16 at the Mandell Weiss Theatre, La Jolla Playhouse, 2910 La Jolla Village Drive. For tickets ($44-$100), visit www.lajollaplayhouse.org or call (858) 550-1010.