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Pictures: Ellie Kurttz Hairspray Wolverhampton Grand Theatre ***** John Water’s 1998 film, Hairspray about a pleasantly plump, fame pursuing teenager rallying against racial segregation in mid-town 1960’s America, divided critics on its release but became something of a cult classic during the 1990s. A stage version opened on Broadway in 2002 and the show made its UK debut five years later. The latest reincarnation swaggers into Wolverhampton with impressive verve and vivacity, delivering a score of finely crafted routines and songs to a packed-out house. The story is a simple one. Local girl, Tracy Turnblad, dreams of hitting the big time and makes it her mission to be a star, despite the odds being stacked against her. It’s a familiar narrative in the musical theatre world - a tale of triumph over adversity. The rise of the everyman/woman. What sets this show apart though is it’s social commentary and cultural setting. It’s 1962. Racial segregation is very much still in place. As hard as it is for Tracy, a white girl not blessed with a model figure, it is virtually impossible for the black performers in her neighborhood to get prime time exposure. TV programmes, like The Corny Collins Show featured here, are all very blonde and white, with artists of colour being restricted to the weekly negro hour. It’s a world of injustice and one that our heroine, Tracy is determined to fight.
Marc Shaiman’s score and arrangements are at times electrifying, not just on the more well known songs like You Can’t Stop The Beat but also on powerhouse statement songs like the hugely emotive I Know Where I’ve Been. If a pin had been dropped during that one, you’d have heard it. (Huge credit to understudy Sasha Monique as Motormouth Maybelle.). There are tender numbers too, like the almost musical hall styling of You’re Timeless To Me, delivered with real affection by Neil Hurst as Edna and his partner, Wilbur ( Dermot Canavan) Katie Brace is outstanding as Tracy Turnblad, a whirling dervish of wide eyed wonder, Every expression is beautifully delivered and her instant likeability is earned from the outset. Joanne Clifton asserts with attitude as Velma and Declan Egan is the host with the most as Corny Collins Ensemble performances are on point throughout both vocally and physically, never letting the energy drop and raising the rafters at times. It’s a directorial debut for Brenda Edwards who manages to achieve the right balance between the sheer joy of the music and the power of the message being told. Nor does the message feel over delivered or angry. Uplifting, inspiring and huge fun. Grab a ticket while you still can. The beat goes on to 08-02-25. Tom Roberts 03-02-25 |
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