Review of ‘Cry-Baby, The Musical’: “Half the one that I want”

The Arcola Theatre opens its first-ever production of a musical, with the London premiere of John Waters’s cult classic. Guillermo Nazara shares his views on the show, to let us know if the stage adaptation of the 50s spoof tribute manages to have enough commie-cal effect.

Grease is the word. You won’t hear it in this one – not even in an automatic, systematic, ultramatic way. But it’s the name that’ll come to mind if you venture into the Arcola to see the musical adaptation of John Waters’s camp-over-camp creature. The summer nights may not be drifting away in this one (its pacing, however, is a different subject). But if you wanna go all Rizzo about it and say it sounds like a drag, you’re probably right.

Its parody intentions are obvious – just like how its creatives are hopelessly devoted to you, as a viewer, to make you laugh. Do they get away with it? Well, you have a clash between 50s good and bad boys teens. They are high in spirit – and even higher in hormones. So much that love will find its way to bring some flow between these two opposite worlds – through a French kiss.

It’s a premise as stupid as it is hilarious. If you’re looking for a good laugh, there are certainly a few ones guaranteed all through the show – especially during Act Two. However, these hints of comedic brilliance do not shine as much as we would hope for – with too many scenes missing that element of shock and sharp wit that make its strongest moments so remarkably memorable.

Featuring a pastiche-on-pastiche score by Adam Schlensinger, its vibrant Elvis-mimicking repertoire is truly electrifying – if you were there last night, you may have got a glimpse of me moving my hands to the sound of the music (and you were probably wishing they’d serve a different purpose on you). Does it include any earworms? Not really. The fact that the numbers stand too close to their inspiration might be part of the problem – all of them feel like one more piece from that era, instead of one that stands out in it. Add that to an excessive use of the 3/4 bar and exceedingly similar chord progressions theme after theme, and its inability to stick into our heads is secured.

The lyrics can’t be exempt from criticism either. Though generally well-crafted regarding prosody and rhyme (the latter, quite astute on several occasions), there’s not enough humourousness for most of the part – with only two songs truly capable of bringing out the laughs, and relying too much on the performers’ strengths and resources rather than their own skills to achieve effect.

Yet, this is a perfect example of an average effort in terms of creativity – which just happens to be an extraordinary feat as for who’s brought it along. The Arcola Theatre has offered us, in the past, every possible thing anyone could put onstage (literally). We’ve had plays, experimental acts, even opera festivals – but never before, a musical of this scale. Perhaps that’s why it comes as such a refreshing sensation to see something so immaculately presented – to the point that there are basically no flaws in their execution, no matter how blemished the piece itself is.

Exceptionally well-blocked and beautifully choreographed, the production is an absolute triumph in every aspect. There’s no set design whatsoever except for an American flag painted on the space’s black-bricked wall, as well as a small wooden platform and a few come-and-go banners. And yet, its ability to build an atmosphere is honestly impeccable – painting the most intricate pictures through its extremely detailed lighting; fairly surpassing the standards of many current West End shows.

On the other hand, the company proves to be the most valuable element in this finely assembled mosaic – with most of its members exuding the most magnetic presence, flair, and chemistry in their awe-striking renditions. Beguiling us with genuinely astounding excerpts led by complete precision and inexhaustible energy in their movements, as well as astounding vocals, the biggest mention is equally earned by Chad Saint Louis and Eleanor Walsh – stealing the show at practically every moment they are on through their natural comicality and infectious stamina.

When John Waters’s film first came out, it was a critical catastrophe. Its musical alter ego didn’t do well in the Great White Way either. Yet, there’s something about this show that could lead to a most successful run in the London circuit. Does the script need to improve? Most definitely.  But there’s so much quality blazing out in this particular version that I could almost forgive the issues the script has. I will not do it, though, because I’d like to preserve my position as a heartless bastard. However, I would invite you to take a chance and let yourself be taken by the excellence of those who came into its rescue. You won’t come for the writing, but you’ll surely stay for the spectacle.

All pictures credit to Charlie Flint.

Cry-Baby, The Musical plays at London’s Arcola Theatre until 12 April. Tickets are available on the following link.

By Guillermo Nazara