|
|
|
|
|
|
Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
|
|
Hairspray
Sutton Coldfield Musical Theatre Company
Lichfield Garrick
***** JUST occasionally, an amateur musical
society can perfectly catch the zeitgeist of the spirit of a musical,
injecting a zest and enthusiasm which breathes life into the original,
taking it head to head with the best of professional productions.
That is exactly what
Sutton Coldfield Musical Theatre Company have done with their
presentation of Hairspray. Serendipitously, the themes of casual racism and
mistrust of immigrants are a feature of the UK EU referendum debate, and
legislature corruption is prominent in the US presidential debate,
capturing a contemporary dimension to the original screenplay. Hairspray
focusses on the Integration debate in early 1960’s America, body image,
and how outsiders fit into mainstream society. But this is no dour,
didactic dirge. Instead it is a celebration of diversity, hope, and the
talent that youth always has to offer both in the story, and in its
physical manifestation on stage. Marc Shaiman and Scott Wittman's adaptation of
John Waters' film for stage, first appearing on Broadway in 2002, is
both glitzy and gutsy. Director Sally Baxter has managed to successfully
tiptoe along the tightrope of delivering a show which musically fairly
fizzles with high octane effervescence, whilst retaining the integrity
of playing out a dramatization of the Civil Rights struggle in America. A brash, gaudy, set nicely reflects the time and
place. Suzanne Harris and Tracey Firkins have had their work cut out as
costume designers, and triumphed, to produce a riot of colour and flared
dresses. A large cast boasted
twelve society debutantes, in significant part, due to the need to
secure an ethnically diverse cast. However, no nervousness, or
unfamiliarity, was evident, as one of those debutantes, Kitty Roberts,
taking the lead role of Tracy Turnblad, blazed into the opening number
Good Morning Baltimore,
and never looked back.
Kitty is superb in the role, offering a powerful
vocal and a commanding stage presence. Yet she isn’t all front. Her love
interest with Link Larkin is nuanced and believable, helped considerably
by Adam Coulthards’ assured vocals and charisma. Sally Jane Adams has the best dresses, and shows
off the sharpest dance moves, as aspiring Miss Teenage Hairspray. Helen
Gilfoyle, as her mother Velma Von Tussell, specialises in a withering
glare that could turn milk sour, ostentatiously enjoying her role as
villain of the show, and sings her solo with gusto too. The musical score is
fabulous, featuring 1960s-style dance music and "downtown" rhythm and
blues, played by a live ten piece band under the musical direction of
Sheila Pearson. Not skimping on musicians by using a pre- recorded sound
track makes such a difference. All the vocalists, without exception,
rose to the occasion, none more so than Miss Motormouth (Marsha Webbe)
whose spoken rhyming couplets morphed into a huge interpretation of
signature ballad I Know Where I’ve
Been. Tracy Turnblad’s
parents have much fun as a comedy duo. Tony Orbell is all gangly arms
and legs, while Mark Skett appears in drag. Both come together for a
very well received duet, You’re
Timeless to Me. A compelling part of
this show’s success is the choreography, by Maggie Doyle. There are no
back line shirkers, the shapes and movement are a delight, and she shows
commendable discipline in not flooding the stage with chorus
unnecessarily. Inevitably, she works
You Can’t Stop the Beat until it is
wrung dry, and why not? It is a great song, with unusually satisfying
lyrics, the performance of which demands, and receives, a deserved
standing ovation at its close. Delightful cameo’s abound. Anil Patel (Seaweed
Stubbs) is a striking performer, as slender as a microphone stand, but
with seemingly nuclear powered dancing energy. Playing opposite love
interest , ugly duckling turned swan Chelsea Greathead (Penny Pingleton),
the two of them imbue their roles with comedy and poignancy. Little Inez
(Equinana Givens) gives a big performance. Amidst the infectious song and dance a witty, and
occasionally risqué, script is brought to life by the cast. The didactic
stays just the right side of cliché and platitude, “Follow your dreams”
“The bigger your girth, the more you are worth”, the waspish amuses ,“
It pays to have a politician in your pocket and a polaroid in your
safe”. This is an ebullient slice of musical theatre,
brim full of joie-de vivre, overflowing with ebullience, delivered with
brio and elan, guaranteed to entertain and delight all who wisely come
to see the show which runs till Saturday 4th June. Gary Longden 31-06-16 |
|
|
|
