THE story of Hairspray is set in 1962 Baltimore, with its period costumes and hairstyles, when concrete-solid -with-hairspray, tall, back-combed-within-an-inch-of-their-lives beehive hairstyles were all the rage.

The story of personal prejudices that were so prevalent at the time against anyone who does not conform to the accepted norm, “chocolate box” beauty for the girls, sharp dress for the boys, and segregation of the Black and White communities, is loud and clear in Mark O’Donnell and Thomas Meehan’s script. Marc Shaiman’s score, with numbers like Good Morning Baltimore, The Madison and Welcome to the 60s also naturally reflect the story.

But for all the froth on top of the glass in this production, under the co-direction of the experienced Paul Kerryson and debutante director Brenda Edwards, there are some very dark themes lurking just under the surface in this story of overweight teenager Tracy Turnblad (Katie Brace), attempting to break into her dream world of being a TV star, as the young Black community is fighting for a chance to be allowed to show its singing and dancing talents on the completely White-controlled local TV station.

Battle lines are drawn when Tracy, with the support of her mother Edna (Neil Hurst, following tradition, playing the role in drag), about to come out of a personal shell that has kept her in her flat for the past 15 years, and gentle loving father Wilbur (Dermot Canavan), a man with far more backbone than first appeared, combined with the local Black community led by the spirited Motormouth Maybelle (Michelle Ndegwa). On the opposite side of the fence are the reactionary ‘red necked’ producer of the TV station Velma von Tussle (Joanne Clifton), and her blinded-by-ambition daughter Amber (Allana Taylor).

Caught in the middle, trying to safeguard their own careers, are Declan Egan’s cheesy, OTT television presenter Corny Collins, and torn between love for Tracy and ambition, Solomon Davy’s very likeable Link Larkin. And straddling both sides, with two beautifully-judged portrayals of star crossed lovers, are strictly brought up White girl Penny Pingleton (Freya McMahon) and Black activist Seaweed (Reece Richards).

Never frightened to take a number by he scruff of the neck, these principals, with the support of a bright ensemble who show no signs of fatigue as they come towards the end of a long arduous UK tour, give the score full of well known popular 1960s-sounding songs full value for money. All their efforts, well received as they were, find themselves upstaged by show stopping songs from Michelle Ndegwa, making her stage debut as Motormouth Maybelle, and Neil Hurst and Dermot Canavan’s Edna and Wilbur Turnblad. Best known as a soul and gospel singer, Michelle all but brought the audience to its feet in response to her heartrending singing of I Know Where I’ve been.

Neil and Dermot brought all their experience to bear on a number straight out of a previous era – You’re Timeless to Me. With perfect timing of the lyrics and movement, they produced a true show stopper, to which the young and old in the audience readily and happily responded.

GRP

Photographs by Pamela Raith