Hairspray

Hairspray tells the story of Tracy Turnblad, a big girl with big hair and an even bigger heart as she sets out to follow her extraordinary dreams, inspire her mum and win the boy she loves. This musical is also a social commentary on the injustices of parts of American society in the 1960s particularly racial prejudice but also ‘Fatism’, discrimination against people who are overweight. For ‘Hairspray’ to really work, one would assume that black actors would be needed to play the black characters, otherwise its central message is blurred and the impact of segregation might not fully come across. But that would be to deny societies in certain parts of the country the opportunity to present a delightful, colourful energetic and immensely popular musical.

Although set in the 60’s this is a very modern musical and the sentiments of this show are as relevant today as then. Frome MTC took this musical and turned it into a lavish production of song and dance. The director used every opportunity to put memorable singing and exciting dance routines to the forefront of the show and this worked very well. 

I totally appreciate the difficulties in trying to obtain black actors to perform in the show and the writers and composers have taken that on board, knowing that ‘blacking up is totally inappropriate and not allowed. FMTC took the decision to present the show with an all white cast and used the generic letter available from the rights holders, asking the audience to ‘suspend their disbelief’ saying ‘if the direction and the actors are good, you will still get the message loud and clear and hopefully have a great time receiving it!’

Well certainly everyone on Saturday night had a great time; this audience appreciated every nuance of the show and showed their appreciation wholeheartedly with a well deserved standing ovation during the bows. But did the racial message come across... I think... not wholly. If the ‘black’ characters in their black wigs had not been seen earlier in the show as white members of the ‘council’, they might not have been so apparent. The black wigs were good and the costumes for particularly Motormouth Maybelle were excellent and very appropriate and certainly helped the ‘illusion’.

Barring a few uncomfortable scenery moves (removing the scenery during the terrific number’ I Know Where I’ve Been’ was a distraction) all aspects of production were very good, costumes, wigs, sound and a minimal set. But the lighting must deserve a special mention... outstanding and inventive; it was a real asset, making the show even more alive and vibrant.

The direction and choreography by Vicki Klein was very good, it was quite obvious how much hard work everyone had put  into this production and it paid off with a show full of fun, pace,  and enviable talent. The MD David Hynds controlled a ‘hidden’ orchestra with not a note or rhythm out of place.

All the principals were very talented performers and never let up for a minute, but a special mention should go to Nicole Wooldridge as ‘Tracey Turnblad’, her energy and excellent characterisation were just right,  well done on a super performance and Lou Knight as ‘Motormouth Maybelle’ gave an exciting performance... what a voice. But this whole company worked as a team giving the audience an excellent evening’s entertainment, one that will, I’m sure, be remembered for a long time.

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