Tony and Emmy Winner Derek McLane Reveals Original Sketches of His Emmy-Winning Design for Hairspray Live!
Baltimore Street sketch: “The best part of figuring out how to transform Universal’s back lot into 1962 Baltimore was choosing all those great period cars—most of them from the 1950s, since most residents wouldn't have brand new cars,” says McLane.
Turnblad House sketch: “I used about seven different patterned wallpapers and fabrics to make Edna Turnblad’s apartment feel as though it had not been remodeled since the 1940s,” says McLane.
“I love the pastel palette and pleasant chaos of laundry and patterns in the Turnblad kitchen,” McLane says.
“As ‘Welcome to the 60’s’ begins, Tracy leads her nervous mother out into a Baltimore that becoming more modern by the minute,” says McLane.
Mr. Pinky’s Hefty-Hideaway sketch: “We didn’t have the budget to show the inside of the store,” says McLane, “so I wanted the signage and window dressing to tell us the story of his business.”
Record-shop sketch: “Motormouth Mabel’s record shop was based on a lot of research from African-American bars in the south that feature vibrantly decorated rooms with a wonderful folk art flavor,” says McLane.
“A crane shot of the Baltimore street during an evening rehearsal,” McLane notes. “If you look closely, you can see two cold actors shivering in their jackets.”
“One of our first days of on-camera rehearsal on the Baltimore street, recently hosed down, so you get those great reflections in the pavement,” explains McLane.
“The finale of ‘Mama, I’m a Big Girl Now’ caps a number that begins with three girls in separate bedrooms, who’s walls fly away to finish with a big, wonderful musical comedy chorus,” says McLane of this final shot.
“I wanted to make the Corny Collins show have the unmistakeable flavor of a period TV variety show, but a local, not national show, and so the scenery was deliberately of modest scale,” says McLane.