Revisiting Hairspray: Why This Controversial Musical Still Resonates—And Divides
There’s something undeniably magnetic about Hairspray. Whether it’s the infectious soundtrack, the bold characters, or its unapologetic dive into 1960s race relations, the musical has a way of sticking with you. But here’s the paradox: while it’s a crowd-pleaser, it’s also a lightning rod for criticism. Personally, I think that’s exactly why it’s worth talking about—and why Orlando’s Little Radical Theatrics is brave for tackling it in 2026.
What makes this particularly fascinating is how Hairspray has evolved as a cultural artifact. When John Waters’ 1988 film first hit theaters, conservatives were up in arms over its portrayal of racial integration and its unapologetic embrace of drag culture. Fast forward to today, and the pushback is coming from progressives, who critique its “white savior” narrative and outdated portrayals of marginalized communities. If you take a step back and think about it, this shift in criticism isn’t just about the show—it’s a reflection of how our societal values have changed.
One thing that immediately stands out is the role of L’Niarae Blevins and Chris Payen, the creative minds behind this Orlando production. Blevins, a cultural coordinator, and Payen, a choreographer, are doing more than just staging a musical—they’re reimagining it for a new era. Blevins’ background in theater for social change is especially intriguing. She’s not just directing actors; she’s guiding them to understand the historical and cultural context of the Civil Rights movement. For instance, she asked ensemble members to study activists like Marsha P. Johnson and Huey P. Newton. What this really suggests is that theater can—and should—be a tool for education, not just entertainment.
Payen’s approach is equally thought-provoking. As someone who grew up obsessed with ’90s R&B videos, he brings a unique energy to the choreography. But what’s more compelling is his collaboration with co-choreographer Arius West. Their dynamic, as Payen describes it, is like being each other’s understudies—a partnership built on shared vision and trust. This raises a deeper question: How often do we see creative teams so aligned that they can seamlessly step into each other’s roles? It’s a rarity, and it speaks to the chemistry that makes this production special.
Now, let’s talk about the elephant in the room: the controversies. From nontraditional casting to critiques of the show’s problematic elements, this production has already sparked online debates. Blevins acknowledges the flaws but argues that these conversations are the point. In my opinion, she’s onto something. Theater shouldn’t just be a safe space; it should challenge us, make us uncomfortable, and force us to confront uncomfortable truths. What many people don’t realize is that Hairspray isn’t just a feel-good musical—it’s a mirror reflecting our society’s progress and shortcomings.
What’s also striking is the community’s response. Despite the online outcry, the show is nearly sold out. This isn’t just a testament to the production’s appeal; it’s a reminder of the power of community theater. As Blevins puts it, it’s a shared responsibility to entertain and engage the community. From my perspective, this is where theater truly comes alive—when it becomes a dialogue between the stage and the audience.
But here’s where it gets really interesting: Hairspray isn’t just a relic of the past; it’s a living, breathing entity that adapts to the times. Blevins and Payen are updating the conversation, not just the choreography. They’re asking us to see the show through a modern lens, to appreciate its strengths while critically examining its flaws. A detail that I find especially interesting is how they’re using the production to highlight activists from the Civil Rights era. It’s not just about telling a story; it’s about connecting that story to the present.
If you’re wondering why this matters, consider this: Hairspray is more than a musical—it’s a cultural touchstone. It’s a reminder that art doesn’t exist in a vacuum; it reflects and shapes the world around us. Personally, I think this production is a bold statement about the role of theater in society. It’s not just about putting on a show; it’s about sparking conversations, challenging norms, and maybe, just maybe, inspiring change.
So, is Hairspray problematic? Absolutely. Is it still worth watching? Without a doubt. Because at its core, it’s a story about resilience, unity, and the power of individual voices. And in a world that’s still grappling with issues of race, identity, and equality, that’s a message we can’t afford to ignore.
Final Thought: Theater, at its best, is a mirror and a window. It reflects who we are and shows us who we could be. This production of Hairspray does both—and that’s why it’s more than just a musical. It’s a conversation we need to have.
