Hairspray

This production has all the energy and thrill you would expect from this bouncy Broadway musical. Its upbeat music and lyrics coupled with a strong cast makes this the strongest ROS production I’ve seen to date.

With the swinging 60s as the backdrop, the story follows teenager-on-a-mission Tracy Turnblad in her quest for integration and equality.

In the lead role is the remarkable Gemma Sales as the bouffant Tracy – the big girl with the big hair, heart and an even bigger passion for dancing. Gemma’s performance would not have been out of place in a professional production of Hairspray. Every song, every scene, every routine was performed without a single flaw making it impossible to criticise – just terrific! If you cut Gemma in half you’ll see star quality running through her, an outstanding performance in every possible way!   

A challenging production for the Choreographer and the movement staged by Debbie Wood was the best work of hers I’ve seen with some rather impressive moments; ‘Nicest Kids In Town’ and ‘I Can Hear The Bells’ being the two most prominent choreography highlights. However it did appear as though she’d ran out of steam for some of the other numbers; ‘Welcome To The Sixties’ and ‘Good Morning Baltimore’ exposed a lesser inspired level of choreography creativity.

We had first rate supporting performances from; Kira Richardson as Penny who brought the perfect balance of the dim, randy adolescent best pal.  Collette Desborough & Francesca Paulley made up the wickedly spiteful mother and daughter duo as the Von Tussles and Ciaran Ashton presented a very successful performance as the smooth, cheesy heartthrob, Link Larkin.

One of the biggest surprises of the night, for me, was Dave Ennis with his impressive Corny Collins. Dave completely held his own ground with good force exposing the humour and smarm of the role with the ideal balance and delivered first-rate vocals during his numbers too!

Shaun Penton treated us to the iconic role of Edna Turnblad and from this performance - if I wasn’t familiar with this show - I’d be confused as to why this was being played by a man in drag. I honestly don’t feel that Shaun did anything wrong within his performance, though there were times I sensed him being swallowed up by this gigantic character. If anything, this has highlighted to me just how challenging Edna is to play and that it’s not the easy ride / gimmicky role which it’s often labelled as.

Claire Sweeney and her able band were on top form, the sound from on and in-front of the stage was excellent! The balancing of the sound (vocals / music) did require more attention as it was difficult for us to catch all of the dialogue, particularly during underscoring of which there was plenty!

ROS welcomes new Director, Steve Mallinson to their production team who has indeed produced a highly commendable production for the society. The vision paid homage to the original production which certainly worked. The energy and spark was prominent, the entire cast were having a blast - it was difficult to avoid being swept up in the excitement of the performance.

Having some of the ensemble members as backing singers gathered around microphones at certain points was an inspired idea though their positioning felt a little awkward, I wasn’t sure if they were meant to be seen or not. 
Having the stage draped in black cloths was probably a decision which made the lighting designers heart sink as it did prevent the show from being as colourful as it could have been.  
The set / trucks worked great and didn’t seem as problematic as they can so easily do on the Plaza stage. 

This was a very enjoyable show, there was heaps of laughter throughout the audience and a terrific energy on stage. The risk of staging this show has indeed paid off for the society and I’m incredibly excited to see what’s to come next!
Many congratulations, Romiley - really well done!

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