Hairspray

Bursting from the stage with vitality and colour from its first lively, jiving ensemble number, striking choreography, vibrant costuming and extravagant wigs are early stars of this co-production of Hairspray. The energy and enthusiasm with which the ensemble nailed choreographer Craig Nhobbs snappy routines, and swirled designer James Worner’s splendid, colourful 60s costumes set benchmarks sustained until the high-energy finale.

Stripped of all the hi-tech LED animations created for the Australian professional production, Hairspray becomes a simpler show, bound to be a great favourite with strong community theatre companies.

Forget the gimmicks and technology, that 60s look - swirling skirts and lots of big hair, is all that’s really needed – plus, of course, heaps of talent and enthusiasm. This production has attracted that in trumps.

The splendid cast assembled for the Canterbury / Rockdale joint venture is led by Sally Redman’s joyous, exuberant Tracy Turnblad and Chae Rogan’s drag celebration of Edna Turnblad.

Other key performances include Jessica Bennett-Griffiths’ delightfully kooky Penny Pingleton, Michele Lansdown’s arch, gloriously two—dimensionally bitchy Velma Von Tussle, Tim Watson’s earnest Link Larkin and Zoë Jessie-Rose McDonald’s Amber Von Tussle, a suitably catty little drama queen.

Nelson Padilla’s Seaweed and Stephanie Pennass as Little Inex engagingly navigate the path across the racial divide, with Leslea Clements belting out the blues / soul portion of the score splendidly as Motormouth Maybelle.

Clinton Griffiths is a sympathetic Wilbur Turnblad, and his duet with Edna is pure traditional song and dance.

Along with other capable principals, they lead an enthusiastic, youthful and disciplined company, who put it out there energetically throughout.

Impressively painted fold-out comic book set pieces look great, and provide vivid backdrops, though the concept might have been carried through just a little more completely.

I am hoping that the show’s only major weakness will have been ironed out as the run progresses. Sound issues marred the opening night, notably frequent feedback, especially in dialogue following songs, and slow or missed cues.

The show has a big rock / blues / soul sound, which Musical Director Andy Peterson, the orchestra and pit singers create impressively.

Hairspray is feel-good musical theatre, entertaining and engaging as it delivers its message of racial tolerance.

Neil Litchfield.

Photographer: Grant Leslie, Perfect Images.