Cry-Baby: The Musical (Saltpillar Theatre), at Phoenix Theatre, Elwood

You have built a reputation as a bad boy, even though the moniker is untrue, but try as you do, you can’t break the tag until the truth finally outs.

That, in a nutshell, is the plot of Cry-Baby: The Musical, which opened on Broadway in April 2008.

Set in 1954, it is based on the 1990 John Waters’ film, starring Johnny Depp.

Photos by Peter Haskin

Both the movie and the musical centre on the relationship between Baltimore teenager Allison Vernon-Williams and orphaned Wade “Cry-Baby” Walker.

Walker, who maintains his parents were sent to “the chair” after they were framed, is the leader of a pack of rebel outcasts.

Vernon-Williams, also parentless, being raised by her grandmother, who is president of the Baltimore Women’s Club, is a good girl, who is open to being bad.

When she sets eyes upon Walker as they are getting their polio vaccines, both are immediately smitten.

That is despite the fact that Vernon-Williams’ grandmother warns her off and that Walker is being stalked by Lenore, who is obsessed by him.

Much to her chagrin, Vernon-Williams too is being pursued, in her case by Baldwin, the “square” front man of a do-wop boy band.

When Baldwin sees Walker’s head being turned by Vernon-Williams, he determines to do all he can to derail the development of any relationship between the pair.

Sparks fly in more ways than one, as matters turn decidedly ugly, before a well-kept secret changes everyone’s fate.

Saltpillar Theatre’s production lets the good (and bad) times inherent in the script return with energy and laughs aplenty.

A strong cast sings and dances with aplomb, bringing this feel-good production to life.

With an ear-pleasing country lilt in his strong vocals Jesse Kline is charismatic as Cry-Baby.

Joelle Noar, who pulls all the right facial expressions, readily steps into the role of the teen innocent Allison who is about to be taken on a wild ride.

Tammy Ciddor is well cast as grandmother Vernon-Williams, who is carrying a heavy burden.

Amaya Martinez-Doyle is a scene stealer, mighty impressive with her affectations, along with her vocalisation, as Lenore.

Giddy Datt’s tuneful realisation of Cry-Baby’s best friend Dupree also hits the mark.

Attitude is the mainstay of the three female members of the juvenile delinquent gang known as the Drapes, who are loyal to a fault to Cry-Baby.

Maya Burstin as Pepper Walker, Maia Cukierman as Wanda and Kailey Silver as Mona “Hatchet Face” (and the dance captain) add much to the production.

Jasper Sherman milks the deliberately try too hard, self-aggrandising Baldwin for all he is worth and then some.

I also appreciated the doting representation of Baldwin’s boy band, the Whiffles. I speak of Danny Trakman (who doubles as a judge), Jesse Ermer, Eden Hadass and Marlon Priester.

They and the supporting cast act up, warble and dance up a storm, leaving the audience in raptures in an up-tempo offering.

With book by Mark O’Donnell and Thomas Meehan, and songs by David Javerbaum and Adam Schlesinger, I was particularly taken by the music and movement.

The songs readily resonate (music director Mattan Franco and the band do a fine job), while the choreography by Leona Lenore works a treat.

The colourful period costuming by Dani Harrison is evocative and eye-catching.

The set design Netanel Morris came up with, including showcasing two band members, period microphones and the “cages” of incarceration get a thumbs up.

So too the lighting and sound design, which bring real heart to what unfolds.

Plaudits to director Kat Yates. She has enabled this light-hearted flight of fancy to take off in a big way.

Saltpillar Theatre’s production of Cry-Baby is on at Phoenix Theatre in Elwood until 25^th October, 2026.