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And what could be more Tracy Turnblad-like than to give the ‘eleven o’clock number’ to the black family at the heart of the struggle? Luckily … the audiences embraced this moment, which enriches the happy ending to follow, and it is our proudest achievement of the entire experience of writing Hairspray.” … Tracy should sing the eleven o’clock number.’ We simply didn’t want our show to be yet another show-biz version of a civil rights story where the black characters are just background.
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It never dawned on us that a torrent of protest would follow us from almost everyone involved with the show.
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This was … inspired by a scene late in the movie that takes place on the black side of town.
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He thought they were “pacifying” him, but he was told “they don’t want anyone but you”.Īccording to Shaiman, one song, “I Know Where I’ve Been,” became controversial during the genesis of the score: Harvey Fierstein auditioned for the role with a “half hour vocal audition”. Tracy’s mother had been portrayed by Divine in the original film, and Shaiman liked the idea of maintaining the tradition of casting a male as Edna Turnblad. Winokur was one of the first to audition for the role of Tracy Turnblad and spent two years preparing with voice and dance lessons.
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Meanwhile, Marshall had started work on Chicago, and Lion hired Jack O’Brien and Jerry Mitchell to direct and to choreograph, respectively. The treatment and surgery succeeded, and Winokur returned to the project. Certain she would lose the role if the creative team learned about her condition, she underwent a hysterectomy without telling anyone but her immediate family. One year later, Winokur was diagnosed with cervical cancer. They hired Winokur to work with them on the project with the understanding she might be replaced later. The two immediately felt she was right for the role of Tracy Turnblad but hesitated to commit without seeing any other auditions. Marshall remembered Marissa Jaret Winokur from her brief appearance in the film American Beauty and arranged a meeting with Shaiman and Wittman. At the time he was involved in negotiations to direct the screen adaptation of Chicago, but he agreed to become involved in the early development stages of Hairspray with the stipulation he would drop out if assigned the film. Lion contacted Rob Marshall about directing the musical. Based on their initial work, Lion felt confident that she had hired the right team. The two enlisted the help of actress and singer Annie Golden to produce a demo recording containing three songs, one of which, “Good Morning Baltimore,” eventually became the show’s opening number. Lion contacted Marc Shaiman, who expressed interest in the project only if his partner Scott Wittman could participate, and Lion agreed.
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“I was home looking at a lot of movies, and one of those movies was Hairspray.” She contacted John Waters, who gave her his blessing, then acquired the rights from New Line Cinema. Back StoryĪccording to interviews included as an extra feature on the 2007 film’s DVD release, theatre producer Margo Lion first conceived of Hairspray as a stage musical in 1998 after seeing the original film on television. The London production was nominated for a record-setting eleven Laurence Olivier Awards, winning four including Best New Musical. Hairspray has also had national tours, a West End production, and numerous foreign productions and was adapted as a 2007 musical film. It ran for 2,642 performances, and closed on January 4, 2009. In 2003 it won eight Tony Awards, including one for Best Musical, out of 13 nominations. When Tracy wins a role on the show, she becomes a celebrity overnight, and meets a colorful group of characters, leading to social change as Tracy campaigns for the show’s integration.
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In 1962 Baltimore, Maryland, plump teenager Tracy Turnblad’s dream is to dance on The Corny Collins Show, a local TV dance program based on the real-life Buddy Deane Show. The songs include 1960s-style dance music and “downtown” rhythm and blues. Hairspray is an American musical with music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O’Donnell and Thomas Meehan, based on John Waters’s 1988 film of the same name.