Overflowing with fun, Hairspray" is Gateway's extravaganza of the season in Patchogue"

There’s probably more fun per square inch on the Patchogue Theater stage and in its present tenant, the 2003 Tony-sweeping musical “Hairspray,” than there are tears in much of the rest of the world.

This exuberant, supercharged, superbly performed, and deliriously dopey show that sends up the ’60s as they’ve probably never been sent up before qualifies in every way as the Gateway’s extravaganza of the season.

The Gateway does one of these a year—a tossing in of all its multiple talents and resources with the aim of filling both the Patchogue stage and the Patchogue theater with large casts, star performers and a general sense of opulence.

Okay, so what if the set for this “Hairspray,” by one J. Branson, who is mysteriously absent from the program, is, well, bright and useful and creatively lit by Christopher J Landy, but otherwise minimal?

What matter, when what takes place before and within it is so gloriously happy and glitteringly inspired? First off, there’s the solidity of the show itself—strong reason for its multiple awards. The book by Mark O’Donell and his widely credited co-librettist Tom Meehan (“Annie, “The Producers”) which traces the improbably heroic transformation of Tracy Turnblad from overweight teenager to shining star of the Corny Collins (read Dick Clark) TV dance show, is unfailingly funny, replete with one-liners that fly by and multiply endlessly.

If in the midst of all this comic mayhem some social commentary plunks itself down, the cast keeps it all of a piece so that the commentary molds itself into a sincere evocation of a time and its cloudy as well as sunny complexions. And besides, the social aspect makes possible the show stopping, heart accelerating musical atom bomb of the evening, the gospel elevated “I Know Where I’ve Been,” socked across with wild, knowledgeable control in Patchogue by the solidly estimable Fran Jay, a star if there ever was one.

The music by Marc Shaiman and lyrics by Mr. Shaiman and Scott Wittman are wackily of the period, delivered with great understanding and energy by a fine sounding pit orchestra conducted by musical director Jeffrey Buchsbaum.

All of this is staged with an abundance of forward fever by Steven Yuhasz and choreographed to the rafters and beyond by Josh Walden. Every possible ’60s cliché—even an appearance by three student Supremes (“The Dynamites”)—comes happily to life in the virtually nonstop dancing and clowning by a huge and to-a-person shining cast.

Every cast member is adorable and precise and apparently indefatigable, for they’ve been given such nonstop, foot-stomping, airborne dance routines, it makes one wonder if there are multiple oxygen tanks backstage.

Speaking of adorable, Sara Jayne Blackmore, as Tracy’s sidekick Penny Pingleton, is probably the most adorable show business teenager since Judy Garland was young. She lights and brightens her every moment on stage, and her eventual boyfriend, Seaweed J. Stubbs, played with sweet embraceableness by Todrick Hall, is an electrifying dancer.

Nell Mooney, as Velma, the overbearing TV producer, is a strong and savage presence, and her delivery of her memories of a past local triumph, “(The Legend of) Miss Baltimore Crabs” is a comic delight. Steven Buckingham is satirically right as Corny Collins, the TV dreamboat.

Natalie Loften Bell as Amber, the Baltimore Beauty, is a beauty herself, and vamps with a vengeance. K.J. Hippensteel is a convincingly friendly iconic ’60s teenage idol and boyfriend of Tracy. Their romantic duet, “It Takes Two,” is a sweet and soft interlude in an otherwise energetically rocking score.

And so is the delightful soft shoe, “You’re Timeless to Me,” by Wayne Schroeder and Jerry O’Boyle as Wilbur and Edna Turnblad, Tracy’s parents. Mr. Schroeder is a believable, understated foil for the dynamic, deliriously stage-robbing presence of Mr. O’Boyle in drag, playing the role that won Harvey Fierstein his coveted Tony in the original “Hairspray.”

Mr. O’Boyle effectively wipes Mr. Fierstein from memory as Tracy’s dominating and often hilarious mother. He (she) deserves every one of the cheers he (she) gets at the curtain call.

And so does Brooke Shapiro, a freshman at the Hartt school making her regional theater debut as Tracy Turnblad. She’s a dynamite performer, an arresting presence that lends heart and hardiness to the role, launching the proceedings with “Good Morning Baltimore,” and powering it to the last syllable of the finale.

I defy anyone except the very grouchiest to block the smile that takes over every audience member’s face from the first to last note of this “Hairspray.” It’s that kind of happy experience.

“Hairspray” continues at the Patchogue Theatre every evening except Monday and in several weekly matinees through July 31. Visit Gatewayplayhouse.com or call 286-1133.