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Hairspray

Author: Gordon Richardson

Information

Date
29th November 2019
Society
Ferryhill Stage Society
Venue
Mainsforth Hall, Ferryhill
Type of Production
Musical
Director
Enid Gale
Musical Director
Dave Jasper

Hairspray is a relatively new musical being adapted for the stage in 2002 from the 1988 film of the same name. Where the film had limited success, the stage show went on to win eight Tony awards and be voted best musical of 2003.

Ferryhill Stage Society were, therefore, justified in choosing it for their 2019 production. From the beginning the open stage set with fixed inset of the Turnblads’ living room was well suited to the action using a combination of fixed scenery, draw curtains and moveable ‘set’.

Audio was clear throughout and five-piece orchestra under the directorship of Dave Jasper provided a good up-tempo sound throughout. Moveable intelligent lighting provided plenty of ‘atmosphere’ from start to end. Costumes were colourful and often outrageous (especially when worn by ‘Edna’)

Hairspray tells the story of racial tensions and subsequent ‘integration’ during the early 60’s America via Tracy Turnblad’s inclusion on a televised ‘Corney Collings’ (David Stothard) show and her falling for Link Larkin, the show’s heartthrob lead singer. An announcement was read prior to the show commencing from the show’s writers that the audience should adopt the ‘timeless theatrical concept of “suspension of disbelief” and allow yourself to witness the story and not the racial background (or gender) of the actors.’

Wendy Hindmarch as ‘Tracy’ gave a magnificent high energy, vocally superb performance throughout as the feisty, but socially caring, teenager falling for ‘Link Larkin’ (Ryan Evans) – Ryan looked and acted every bit the teenagers dream. Their protagonists ‘Amber and Velma von Tussle’ (Rosemary Jones and Kelsey White) as the super pushy mother and the bitchy and ambitious daughter (with the cutting ‘one-liners’) gave sterling performances with Rosemary performing brilliantly recalling her past glories in ‘Miss Baltimore Crabs’.

Ian Patterson and stage sister Sadie Morley (as ‘Seaweed’ and ‘Little Inez’) gave good performances as the ethnic minority seeking to integrate into the Corney Collings show everyday rather than on Negro day. Seaweed’s blossoming romance with nerdish teenage friend of Tracy ‘Penny Pingleton’ (Sarah Gray) only sought to reinforce the social divide before ‘Penny’ blossomed into a ‘woman’ thus prompting her mother ‘Prudy Pingleton’ (Elsie McGowan) to give her approval.

Robyn McGough gave a standout performance as the formidable ‘Motormouth Maybelle’, the matriarch of the black community. Her singing and energy were outstanding.

Equally outstanding was Stewart Harland (as the overweight mother of Tracy) ‘Edna Turnblad’ – Stewart’s performance was entrancing throughout, formidable but with a tender side, especially when performing with ‘her’ stage husband ‘Wilbur’ Steve Hill.

Ensemble supported the principals well before TV show sponsor ‘Spritzer’ (Alan Gray) declared full integration every day.

Many standout performances and great choreography – well done Ferryhill and director Enid Gale

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