Hairspray

Harvest Rain’s big fat arena Hairspray is billed as the world’s biggest production of the musical and with over 900 people on stage they’re already in the history books. With a principal cast of names, headed by Simon Burke, Tim Campbell, Christine Anu, Amanda Muggleton and Wayne Scott Kermond, musical theatre graduates, and hundreds of kids with stars-in-their-eyes, this irresistible salute to the sixties is a spectacular and way OTT production.

Marc Shaiman and Scott Wittman’s clever pastiche score not only channels the pop ditties, gospel and doo-wop of the era but also good old-fashioned musical comedy. The first-act’s “Mama I’m a Big Girl Now” was bubblegum-pop at its finest, but the song that really lifted the roof off the venue was “Welcome to the Sixties”. When the ensemble in white fat-suits and purple wigs entered the arena it was exhilarating. Likewise the finale with all 900 people on stage and their synchronised arm-waving, reminiscent of cricket’s infamous “Mexican Wave”, the experience was joyous.

As Tracey Turnblad, the fat girl who finds a cause and wants to integrate a TV dance show, Lauren McKenna had the vocal and acting chops to more than do justice to the part, likewise Tim Campbell who brought a refreshing likeability to pretty-boy Corny Collins and sang and danced superbly.

Edna Turnblad, one of musical theatre’s great drag roles of recent times, was a pushover for Simon Burke who was deliciously butch and masculine. As his other half Wilbur, Wayne Scott Kermond was in vaudeville heaven. Their second-act duet “You’re Timeless to me” not only brought the house down but also allowed them to indulge in some audience schtick about being out there alone on stage. In this moment the two musical theatre pros showed the art of how to work an audience. No whistles and bells just plain talent.

Christine Anu’s stratospheric vocal mannerisms were perfect for Motormouth Maybelle on “Big, Blonde and Beautiful” and “I Know Where I’ve Been”, Amanda Muggleton’s Velma never missed a bitchy retort, whilst Barry Conrad as Seaweed and Emily Monsma as Penny both impressed.

Students from the Brisbane Academy of Musical Theatre, Brisbane Girls Grammar School and Redlands College contributed to the ensemble of over 800 young performers from across South East Queensland, who at various times played cops, TV groupies, teenagers and protesters. Their commitment was infectious.

I’ve no idea what Josh McIntosh’s set-design of rostra was supposed to represent, but it at least provided a variety of levels and stairs for the performers to run up and down on, which was helped visually by Trudy Dalgleish’s strobe-lighting effects and some striking audio visuals on a huge IMAX screen at the back of the set. McIntosh’s costumes for the principals perfectly captured the sixties style - towering beehive hairdos and fabrics in primary colours.

The sound was piercingly metallic on all vocals accompanied by what sounded like a bank of keyboards. Choreographing, co-ordinating and directing 900 people is not an easy job. Callum Mansfield deserves medals for pulling it off so well.

Peter Pinne

Following the Brisbane season this arena production plays Newcastle in July 2016 and Adelaide in October 2016.

Images: Lauren McKenna and Simon Burke. Photographer: Nick Morrissey