HAIRSPRAY. Directed by Paul Griffiths. Music Marc Shaiman. Lyrics Scott Wittman and Shaiman. Musical director Jeremy Quickfall. Presented by The Waterfront Theatre Company. At the Masque Theatre until Saturday. SHEILA CHISHOLM reviews.
HAIRSPRAY is a teenagers musical which adults should attend. Its potent social message, that without prejudicial, “grown-up” interference, young people will like each other for who, not what, they are, and can sort out friendships for themselves, is as pertinent today as it ever was.
Set in the 1960s in racially divided Baltimore, plump Tracy Turnblat (Tammy de Klerk), with her beehive hairdo, is determined to be part of the Corny Collins TV competition seeking a Miss Hairspray princess.
Very much in the running is Amber von Tussle (Ambre-Chanel Fulton) whose, ambitious mother Velma (Angela Inglis) produces the Corny Collins Show and who is determined her daughter will win – at all costs. They may be slim and glamorous, but they are outsize ‘bitches’ who sing and dance their roles very much in character.
There is a love tussle between Amber, Tracy, and suave Link Larkin (Jethro Tait whose personality came into his own towards the end). And shy Penny Pingleton (Natasha Dryden) battles with her bigoted mother Prudy (Corni van den Bergh) whose hysteria when discovering Penny has fallen for Seaweed (Hope Maimane) were real enough to hit home how warped people are when it comes to mixed race relationships.
That all makes Hairspray sound heavy and dark. It is not. It’s a very jolly song and dance romp by a bunch of youngsters with minds of their own determined to “make a difference”… and do.
De Klerk’s Tracy is bubbly and bright, and her scenes with her “46 double-D” size mother Edna (Germandt Geldenhuys) produced many chuckles. I have mentioned before Geldenhuys is a lad with a theatrical future and his stamp on Edna endorses that.
He’s totally unselfconscious in drag outfits, moves and sings with such gusto his every move lifted the cast’s game on to a different plane.
Another young man to watch is Maimane.
He brought a vibrant, pulsating energy that was often lacking in Deon Bisschoff and Janine Binns’s carefully rehearsed solo and group song and dance routines.
Delia Sainsbury’s costumes were typical of the 1960s – full skirts and ankle socks for the girls with the lads togged up in slacks and open necked shirts.
Quickfall’s musical backing was rather too sedate for Shaiman’s “downtown rhythm and blues” and could well have been pumped up a few notches to generate stronger, sparkling vibes. As could some of the singing. But overall, the Waterfront Theatre Company put up a good, enjoyable show.
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