Hairspray.

Gosford director Chris King sure knows how to stage a party. Take, for example, the final ten minutes of his production of Hairspray. To the irresistible rhythm of ‘You Can’t Stop the Beat’ he steadily fills the wide Laycock Street stage with manic energy, super-bright costumes and pulsing lights. The packed audience rise and dance, having as much fun as the happy cast. Then come balloons, streamers and explosions of confetti.

This perky musical had a disappointing professional exposure in Australia in 2010/11. Its Sydney run was cut short and further plans were shelved, which may have lead some community groups to overlook its potential. But recent Sydney productions — and now this one — confirm that, given the availability of the right talents, especially the director, Hairspray is a crowd-pleasing winner.

Certainly the Broadway production wasn’t quite so like a pantomime as this one, with its Dame (Edna) and First Comedian (Wilbur) stepping out of the story to do a front-cloth number (‘You’re Timeless to Me’) and chat up the punters. But with an audience as enthusiastic as this — who cares?

Alicia Simes is the perfect choice for livewire, “pleasantly plump” Tracy Turnblad; Joseph Issa is bold and brassy as Edna; Christopher Gracia is particularly spry and hairsprayed as TV host Corny Collins; Joshua Keane sings handsomely as local heartthrob Link; Genevieve Neve convincingly transforms from shy mother’s girl to miniskirted teen; Jasmine Clarke is terrific as spoiled blonde Amber who can’t believe everyone is falling for “communist” Tracy.

The seemingly lightweight show makes excellent points about 1960s integration in Baltimore and requires, if not the “huge crowd of minorities” described by prejudiced TV producer Velma Von Tussle (Helen Herridge), at least a smattering of black performers. Gosford Musical Society has searched well to give debuts to Tina Leaitua, who sings up a storm as Maybelle; Duke Ehiobuche, who has real charisma as Seaweed; and young Daniella Keating, a firecracker as Lil’ Inez.

The three backing singers — who resemble The Supremes on a particularly well-dressed day — are Melissa Barendse, Samantha Keating and Gabrielle Steele. 

Choreography — a vital, nonstop component of this show — is excellently handled by Lauren Miller and Emma Paully; the punchy band is guided by musical director Christopher Hochkins. As usual with this energetic company, there are bright, smooth-flowing sets (Christopher Hamilton), ravishing costumes (Lesli Normet and Judith Ponchard), and restless, pulsing lighting (Damian Rice).

Frank Hatherley