Birmingham Hippodrome
17th of September 2024
“You STILL can’t stop the beat!”
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From start to finish, Hairspray is still the stand-out, feel-good show it has been for the past 20 years with countless toe tapping songs and an emotionally powerful message of acceptance and hope. This vibrant and fun-loving musical follows the story of teenager Tracey Turnblad in 1960’s Baltimore as she follows her initial dream of appearing on the Corny Collins show. As she sings and dances her way into the ‘Miss Hairspray’ competition, along with her new and old friends, supportive parents, and love interest she strives to change the social norms and sets out to use her new fame to challenge racial segregation of that time. The plot focuses on issues of race, age, discrimination, and body image which, amongst the blend of technicolour costume and fast paced choreography leaves the audience with a challenging yet uplifting message.
The musical starts as it means to go on with a high end energetic, borderline frantic, number ‘Good morning Baltimore’ which transports us to the swinging 60s, executed impeccably by Alexandra Emerson- Kirby, performing in her professional debut. The mixture of musical genres is wide ranging, played by a live brass band hidden at the back of the stage. Choral numbers such as ‘Welcome to the 60s’ and ‘Run and tell that’re most memorable due to the mesmerising costume and seamless choreography by Drew Mconie. The costume designed by Takis (along with the voluptuous wigs, hairs and make up by Craig Forrest-Thomas) are changed with alarming rapidity which speaks of the stamina of the cast and the hard work of the backstage crew. George Reeves video and production design is cleverly used to set tone and era; this is most profound during the emotive ‘I know where I’ve been’ where the powerful vocals of Michelle Ndegwa are matched by the image of Martin Luther King and the names of black leaders; reminding us that the issues of the 60’s remain with us.
This is a widely talented cast with particularly strong supporting actors who’s backing vocals are rich and enhance solo numbers. Special mention to Allana Taylor playing Amber executing her beautiful vocal range and Solomon Davy as Linc for his Elvis-inspired solo. Shemar Jarrett stepped seamlessly into the role of Seaweed and Katlo was a joy to watch as Little Inez. Joanne Clifton, the big-name draw acted the role of racist TV producer, Vela Avon Tussle perfectly and shone in her solo number. However, the biggest, well-deserved, laughs and applause were for Neil Hurst and Dermot Canavan’s playful duet ‘You’re timeless to me’ which was amusing and endearing amongst improv and engagement with the audience
By the end of the show things wrap up well for Tracey and her chums while the audience are left with a smile and groove in their step to ‘You can’t stop the beat.’ And the standing ovation proved this musical is still bringing joy and delivering high fuelled entertainment that you really don’t want to stop!
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Reviewed By Beth Goymer.
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