Hairspray Jr

Inspired by real events but primarily adapted from the 1988 commercial breakthrough film of the same name which shot Rikki Lake to fame playing the central character, for all its bubblegum tinted nostalgia, ‘Hairspray’ is a show that lays bare the brittle superiority of so-called normal society.

It was evident that Cygnets had chosen this title knowing full well it visually wouldn’t translate, and although accepting that aspects are blatantly amiss, they still presented some farcical moments referring to race segregation with lines such as “She moves well for a white girl”, “Anymore white people in here and we’d have a suburb” spoken by an all-white cast and referring to Tracy (the central character) as being plump/overweight when nothing about her resembled a fuller figure which transpires completely differently and gives a far more serious implication than intended. However, the audience accepted it for what it was and, as you’d expect, supported the production and the performances by their cherished ones all the same. Afterall, it’s got a good film to its name with an awesome soundtrack being many peoples favourite show or guilty pleasure so does it really matter…!?

This venture certainly had its merits with some notable efforts put into delivering a virtuous presentation. The set had been entirely crafted in house which was an impressive effort considering I thought it’d been hired in. Costumes, wigs and props were all sourced and pieced together amongst themselves most of which did indeed suggest the 1960’s which shows attention to detail. I sense the vastness of presenting this title may have been underestimated at the start of this venture as ‘Hairspray’ is a mammoth production to get on its feet even with a minimalistic approach, just to be able to stage the huge song and dance numbers and deliver the pathos and comedy of the piece to a desirable result is a stretch for any group, however, Cygnets did indeed give it a good bash!   

There was some raw talent shining through from some of this cast amongst the principal players showing considerable potential (even if they weren’t particularly suited to the role they’d been given to portray) as well as some individuals who caught my eye amongst the singing and dancing ensemble too which did host some eye catching movers! This particular Cygnets project certainly had its hurdles along the way, struggling to sustain a venue and a choreographer though the determination and will of the executive committee was to get the production on its feet in front of their supporters which is to be commended.

The comedy is a vital ingredient in this piece which hadn’t been forgotten with a show stealing performance from Edna Turnblad who presented a larger than life characterisation with no inhibitions as a performer.

Some scenes had appropriate props where required yet in others the props were mimed which was an odd contrast considering how straight forward the missing props would have been to source.  

This commercially successful score bursting with modern showstoppers responsible for making rock ‘n roll cool again was presented with tracks (which I must point out is common with Jr licenses) however, three live musicians helped to contribute to the oomph this score needs.

Hairspray is no mean feat throughout all areas of production with a multi-talented cast required at it’s core. Moments did strike as biting off more than could be chewed but nonetheless, in the words of Wilbur Turnblad “You’ve got to think big to be big!” so credit where it’s due. Limits were pushed and resulted in an enjoyable and (no doubt) rewarding experience for all involved!

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