HAIRSPRAY

When John Waters originally created Hairspray as a film back in the late 1980s who would have thought that it would go on to became a mainstay of musical theatre. The original was most definitely a cult movie that became a classic, but at its heart there was a story that was tailor made for a musical adaptation and equally contained poignant and sadly timeless themes.

Alexandra Emerson-Kirby

At the core Hairspray is a story of prejudice, racism, class, privilege and body shaming. It’s a comedy, of course it is, and the well wrought comedy that comes as standard with Waters is never far away, but equally at the fore are those threads of societal problems.

The current touring production certainly doesn’t shy away from any of those themes, it lays them out for all to see and for the most part does it with a deft hand, never softening the politics even when delivering them in a full-on, multi-coloured dance number. And given that this vibrant and sparkling production is so full on and twinkly that is to be applauded. It would be so easy to take this show and play it entirely for laughs.

And some of that ease certainly comes from a score that is littered with great and familiar songs. Marc Shaiman and Scott Wittman’s musical numbers are terrific and this 2024 cast deliver them with heart, nothing is thrown away except perhaps, at times, the lyrics, which delivered with dynamism by a powerful ensemble, become lost in the overall sound. It’s sad as the lyrics are so well written and contain a lot of the message. That said you cannot fault the quality of the cast, a huge ensemble of youngsters, some making their professional debuts.

Alexandra Emerson-Kirby & Neil Hurst

At the heart of the story is Tracy Turnblad, a pop obsessed teenager who is larger than life in every sense. It’s a fun role, packed with great songs and comedy but Tracy is charged with the task of delivering the real messages of the piece. Alexandra Emerson-Kirby does just that in a role which marks her professional debut. It’s a fantastic performance, full of energy and her voice is simply marvellous, but above all this she gets the character absolutely right, Tracy is the moral compass around which all the other far more comedic roles spin. And without that level of gravitas in the playing of Tracy the whole becomes merely pantomime.

There is in this revival a strong thread of the serious too. Neil Hurst is a creditable Edna, a role made iconic by Divine, John Travolta and even Michael Ball. Hurst’s Edna is very real, funny yes, but very sympathetic and it really works. On a minor note Edna’s makeup, from the royal circle, needs a bit more punch, not pantomime dame punch, but stronger for sure. But that voice, the richness and resounding bass notes certainly pack a punch.

Neil Hurst & Dermot Canavan

And this shows so well in the show’s most charming duet when Edna is joined by husband Wilbur in the delightful love song You’re Timeless To Me. Wilbur Turnblad is played by seasoned performer Dermot Canavan, no stranger to the role having played it in the West End. He brings real charm to the character, there is comedy and buffoonery of course but there is a tangible sense of love and caring for his wife and daughter and equally a sense of right in the fight for equality as the story of prejudice unfolds.

Michelle Ndegwa

The role of Motormouth Maybelle delivers yet another powerhouse of a performance this time from Michelle Ndegwa. Best known as a gospel and soul singer this marks yet another debut performance and what a way to start, the voice undoubtedly brilliant but the portrayal of a strong and driven woman fighting prejudice is excellent.

The large ensemble delivers huge amounts of energy and vibrancy throughout as do the exceptionally strong and unusually large band in this day and age of tracks and synths.

Visually the costumes are stunning, lavish, colourful and packed with period charm. The set however seems somewhat disjointed, the solid front elements rather old fashioned and drab and the animated projections behind rather flat and computer-graphic-like.

At this performance the role of Velma Von Tussle was delivered by Kirsty Sparks, feisty and brittle, just right for the racist and tyrannical ex pageant queen.

Hairspray is a morality tale set in the early sixties when racism and the superficial constraints placed on the world by the conventions of being thin and pretty were so prevalent… but has anything changed? Sadly not, the beauty industry still places the same pressure on us all and particularly on young women, and racism? Well one only needs to watch the global news right now to see that little has changed.

Andrew Kay

30 September

Theatre Royal Brighton

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