I’m a big fan of John Waters’ film Hairspray.
I remember well going to see it on its release in 1988.
Set in Baltimore in the early 1960s, it told the story of Tracy Turnblad’s ambition to be a dancer on the television programme The Corny Collins Show.
Within this the film also engaged with issues of racism (the segregation of black dancers as well as the wider black community) and body image (both Tracy and her mother Edna being large as well as larger than life characters).
It also found room for romance, especially through Tracy’s relationship with heartthrob Link Larkin.
The film proved a hit for Waters, celebrated for its quirky aesthetic as well as career-defining roles for Ricki Lake as Tracy and Divine as Edna.
Although a fan of the original film I had not seen the stage version.
This musical was first performed in 2002, and won awards and acclaim. It also provided the basis for another film, released in 2007 and starring John Travolta as Edna, Zac Efron as Link and Michelle Pfeiffer as Velma Von Tussle (the villain of the story).
I haven’t seen this film, being a devotee of the original.
It was thus with some trepidation that I sat down to watch the musical in the WMC on Tuesday night. I feared a bland toothless reinvention.
At first I wasn’t sure what to make of it, though the rest of the audience in the packed-out WMC were fully on board, responding more enthusiastically than I have seen in any other show. It was in the second half that the show really took off for me, and by the end I was totally converted and left on a high and wanting more.
The show certainly saves its best song to last, ‘You Can’t Stop the Beat’ (which I was familiar with because it has featured on the BBC show Strictly Come Dancing).
I needn’t have worried – the heart, message and quirkiness of the film were present, married with an uplifting and moving quality.
The staging is simple but effective, and allows for the performers to shine.
As with the film a major draw is the character of Edna, and highly experienced and multi-talented Neil Hurst didn’t disappoint, coming into his own in the second half; his ‘You’re Timeless to Me’ duet with Dermot Canavan as husband Wilbur was the highlight of the show, proving delightful and hilarious. Michelle Ndegwa as Motormouth Maybelle was another stand out of the show; her performance of ‘I Know Where I’ve Been’ had real impact. Alexandra Emmerson-Kirby, pictured, made for a winning and energetic Tracy. Gina Murray and Allana Taylor supplied hissable villains as Velma and her daughter Amber. As Link Solomon Davy had the looks and abilities to thoroughly convince, and impressed with his stage presence and choreographical precision. Freya McMahon as Tracy’s friend Penny Pingleton provides comedy in a performance reminiscent of Shirley Henderson, but also forms a touching couple with Reece Richards as Seaweed the son of Motormouth Maybelle. The rest of the supporting cast and performers impress too (and it was great to see the band revealed at the end), but special mention must be made of Kirsty Sparks who plays a variety of small roles under the heading of Female Authority Figure – Penny’s mother, gym teacher, and especially the prison guard (watch out for her handling of her truncheon).
In short, this is a delightful show which has not sacrificed what made the original film special in the first place, and adds emotional heft to it. In our divided and difficult times its message is as pressing as ever.