Hairspray (Medley) (arr. Mac Huff): Choral Instrumental Pak
Arranged by Mac Huff
Item: 35-PK01872978
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Description
Combo parts for Hairspray (Medley) (arr. Mac Huff)
It's the hottest ticket on Broadway and one listen to the fun '60s-style score will tell you why. From the up-tempo opener, Welcome to the '60s, through the contagious You Can't Stop the Beat, Mac Huff takes us on an 18-minute romp through this Marc Shaiman/Scott Wittman hit. Includes: Welcome to the '60s, Good Morning Baltimore, Mama, I'm a Big Girl Now, It Takes Two, I Know Where I've Been and You Can't Stop the Beat.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01872978
More about this title
About the Arranger: Mac Huff
Mac Huff is a prolific arranger whose work spans Broadway, film, and contemporary vocal music. He has built a reputation for arrangements that honor the original composer's intent while crafting parts that sit naturally for singers across multiple voice parts and ability levels.
Why we love this
Huff's medley construction respects the songs' theatrical momentum while creating natural seams between numbers, so what could feel episodic instead builds into a cohesive 18-minute experience. The combo voicing opens this material to smaller ensembles and allows directors to feature soloists without losing the energy that makes Hairspray so infectious.
What to expect
Pure pop-inflected joy wrapped in '60s nostalgia. The music bounces between upbeat jubilation and moments of genuine heart, especially in I Know Where I've Been. There's enough rhythmic snap and harmonic color to keep the arrangement interesting for musicians while staying accessible enough that audiences feel invited into the party.
Who it's for
Any ensemble looking for a showstopper that doesn't require Broadway-level vocal chops or years of ensemble experience. This works equally well for high school show choirs, community theater pit combos, or college vocal jazz groups that want theatrical material with genuine crowd appeal.
How to get the most out of it
- Keep the '60s spirit front and center; this arrangement thrives on rhythmic drive and attitude rather than legit vocal restraint. The syncopation in numbers like You Can't Stop the Beat needs to feel like a conversation between the choir and the band, not a lock-step march.
- Balance the various song styles within the medley. Good Morning Baltimore demands a conversational, almost spoken quality, while Mama, I'm a Big Girl Now needs theatrical belting energy. Mark these character shifts in rehearsal so the ensemble knows when the temperature changes.
- Give your combo parts room to breathe and lead. The instrumentation carries much of the '60s flavor; if the band feels tight and responsive, your singers can sit back and enjoy the pocket rather than forcing every rhythm.
How to use it
Reserve this for a spring concert when you want to send the audience home grinning. The medley length and theatrical nature make it an ideal closer or anchor piece; program it near the end of the evening after you've established the concert's tone with other selections, then use Hairspray to shift into celebration mode.
Skills your students will build
- Rhythmic precision in syncopated pop and rock idioms
- Quick character and emotional transitions between contrasting song styles
- Blend and balance in combo textures (voices against band parts)
- Sustaining energy through a multi-section medley without losing focus