Book by Mark O’Donnell and Thomas Meeham
Music by Marc Shaiman
Lyrics by Scott Wittman
Writer by John Waters
Directed by Paul Kerryson and Brenda Edwards
Review by Annie Aslett
“Hey there, King’s Theatre, Glasgow, don’t change that channel! ‘Cause it’s time for the 2024/25 Hairspray tour! Brought to you by big wigs, 60s vibes and worryingly relevant themes!”
Hairspray is one of the nation’s favourite musicals, and who can blame us? This story of an ambitious young dancer with dreams of ending racial segregation in 1960s Baltimore is packed with banger after banger – the rare faultless movie musical adaptation in 2007 cemented its status as a modern classic. Audiences never miss a chance to catch Tracy Turnblad and their friends shimmy and shake their way to integration, so the musical keeps on touring.
This production’s best quality is the vibrancy it brings to the iconic music; the smooth moves of the ensemble in their 60s threads are key to the show’s success. Drew McOnie’s choreography is faithful to every beat of the beloved soundtrack, supporting the live band to bring Marc Shaiman and Scott Wittman’s songs fizzing to life. The set and costume design by Tanis isn’t winning any awards for innovation, but it nonetheless does a stellar job of selling this camp, musical-theatre version of 1960s America. Corny Collins (Declan Egan) and his springy teens are coiffed and suited to perfection, Motormouth Maybelle (Michelle Ndegwa) is a vision in every sparkly jumpsuit, and Edna Turnblad (Neil Hurst) is show-stopping in her finale look.
Mirroring the costume and set design, the cast is fabulous if uninspired. Katie Brace nails Tracy’s unbridled enthusiasm and is a worthy wearer of the iconic ‘do; Hurst and Dermot Canavan are charming as audience favourites Edna and Wilbur; and Ndegwa is a breath of fresh air as one of the only true vocalists in the main cast. The team have cast wonderfully charismatic dancers in Solomon Davy and Reece Richards as Link and Seaweed; both got through their singing without a hitch, but with a sense of relief.
Underused is Joanne Clifton as Velma Von Tussle – Von Tussle’s big song, Miss Baltimore Crabs, should be made for a dancing diva like the ex-Strictly pro. But instead of a dramatic, energetic throwback to Mrs Von Tussle’s glory days, the number felt rushed, underwhelming and, other than VVT being demurely lifted and inverted by ‘the boys’, devoid of any particularly show-stopping choreography.
Ultimately, this production of Hairspray is just like every other staging of Hairspray: heart-warming, entertaining from start to finish and guaranteed to have you shuffling the soundtrack in the car on the way home. It’s unfair to say the show is stale, especially given the ongoing struggle faced by so many minority groups around the world. However, on the next go around, I would love a revamp.
Review by Annie Aslett – contact@corrblimey.uk
Annie is a not-so-recent graduate of the University of Edinburgh with a degree in French and Spanish, along with a Masters in Translation from the University of Glasgow. A Spanish teacher for three years, she decided to leave the classroom behind to pursue personal goals and has since been regularly reviewing for Corr Blimey’s Glaswegian wing. Annie is a life-long lover of musical theatre, whose childhood performances included a rousing production of Snow White in The Hall and a heartfelt rendition of Go, Go, Go Joseph in The Living Room.
