Review: Hairspray (Touring)

Monday, 28th October 2024 at the Grand Opera House, York

⭐️⭐️⭐️⭐️

One of the most toe-tapping of all the touring musicals is back! Hairspray boasts a great story and great songs, and features lively music from Mark Shaiman and witty lyrics from Shaiman and Scott Wittman.

With Book by Mark O’Donnell and Thomas Meehan, this story delivers on both heart and humour. Teen superfan Tracy Tirnblad gets the opportunity of a lifetime: to join the variety show she has devoted every after-school afternoon to. Championed by enthusiastic pal Penny (Nina Bell), she auditions for the show helmed by Corny Collins (Declan Egan) and featuring heartthrob Link (Solomon Davy). 

Tracy is all set to live the dream – but for the obstacles presented by racial segregation marring the lives of her friends Seaweed (Shemar Jarrett at this performance) and Little Inez (Katlo) – alongside super-sassy mother-daughter duo Velma Von Tussle (played at this performance by Kirsty Sparks, covering Joanne Clifton) and Amber Von Tussle (Allana Taylor).

Katie Brace is a joyous lead as Tracy Turnblad, carrying the score comfortably and winning the audience in a heartbeat with her brazen teen spirit and zest for life – helped along more than a little by a shameless quirkiness which really gives her rendition of “I Can Hear the Bells” comic flair. Michelle Ndegwa’s Motormouth Maybelle takes the crown for the best vocals and the biggest character behind Tracy herself – owning the stage with gravitas and vocal prowess, Ndegwa offers two of the night’s biggest highlights with the iconic numbers “Big, Blonde and Beautiful” and “I Know Where I’ve Been”.

Other highlights include the warm-hearted “You’re Timeless to Me” from Tracy’s adoring parents Wilbur (Dermot Canavan) and Edna (Stuart Hickey at this performance) and the lively show-stopping finish we all look forward to – “You Can’t Stop the Beat”, complete with cracking high-octane choreography from Drew Mconie.

All that said, this particular production doesn’t feel quite so polished as previous renditions, but directors Paul Kerryson and Brenda Edwards hit the most important sweet spots – particularly the friendship between Tracy and Penny, and the rivalry and sense of defiance when it comes to the show’s focus on racial tensions in the 60’s. 

To an extent set design from Takis sacrifices some shine with backdrops offering a shoestring aesthetic at times, but this performance also saw some pitchy performances in the mix. Be that as it may though, it’s hard to go too far wrong with such a strong script, score and lead, and Hairspray stands tall with this production, with the joy of the music and characters intact. 

Hairspray is at the Grand Opera House, York until November 2nd 2024 – more information and tickets can be found here.