'60s celebrated with style

Amanda Richards (Tracy), Andrew Coshan (Link) and Hayley Carrick (Amber) perform in front of the...
Amanda Richards (Tracy), Andrew Coshan (Link) and Hayley Carrick (Amber) perform in front of the Hairspray lights at Thursday's dress rehearsal. Photo by Linda Robertson.
What's this about Hairspray taking over Dunedin's Regent Theatre?

All was revealed in a spectacular musical extravaganza at last night's opening performance of Musical Theatre Dunedin's season of the record-setting 2002 Broadway show and musical (Shaiman and Wittman). It was a triumph, deserving full houses for the week-long run.

The show is a scintillating flashback to music, fashions and dance of the '60s, with big partying sound from a five-piece band and 16-voice backing group directed by Stuart Walker, upbeat '60s choreography (Robyn Sinclair) and a 46-member cast. Pulsating energy and unflagging drive,combine with great text and many one-liners (some rather adult). The songs will not be recognisable to most of the audience, but the style and beat is, and somehow, I felt I already knew catchy numbers like Mamma I'm a Big Girl Now and Big Blonde and Beautiful.

Set in Baltimore, Hairspray is a subtle social commentary on 1960s American racial injustices. The storyline unfolds around the brilliant portrayal by Amanda Richards of Tracy Turnblad, an overweight but ambitious teenager, who becomes an overnight celebrity. The cast is full of wonderful character roles, such as Edna, her larger-than-life Mamma, (a male role superbly played by Greg McLeod), jovial supportive father (Mark Willis), best friend bespectacled and dizzy Penny (Ailis Oliver-Kirby) and her idol and eventual boyfriend Link Larkin (Andrew Coshan). Other ''white'' leads are interpreted by Hayley Carrick, Alethea Chittenden, Chris Keogh, Stacey Gribben and Meric Hoffman.

Among the ''dark-skinned'' characters were Malakai Ikahihifo, a hip-hoisting coloured boy named Seaweed, young Madeline Guthrie, who will forever remember her music theatre debut as Little Inez, and an outstanding performance from Riva Grills, as record shop owner Motormouth Maybelle.

Backdrops changed frequently and lighting effects were amazing. Backstage efficiency (John Finlayson and Samuel Keen) must be supreme, as costume-changes were many and varied. One group was re-dressed in just over 20 seconds!

Director Gladys Hope, the company and crew, can be justifiably proud of this professional and entertaining show, where African Americans and chubby white girls win the day.

- Elizabeth Bouman.

 

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