Hairspray – Review – Hull New Theatre

By Roger Crow, November 2024

I’ve not been desperate to see Hairspray on stage over the past dozen years or so. The last time was in the West End with Michael Ball having a great time as everyone’s favourite non-panto dame Edna Turnblad. And I can’t remember much about it, aside from those killer songs, ‘Good Morning Baltimore’ and ‘You Can’t Stop the Beat’, which bookend the show beautifully.

And yes, there are some cracking tracks sandwiched between them, but maybe it’s the fact the stage show has been so successful I wasn’t that bothered about a second viewing.

Then I got word that Neil Hurst would don Edna’s frock, and on one of the coldest, darkest days of the year, I walk a mile to the train station in darkness and head over to Hull New Theatre.

It’s been one of those depressing days. A Monday, in November, with a mountain of work and just that feeling of winter blues. In a word. Rubbish.

“Fabulous underdog story”

Of course good theatre chases those blues away, and come 7.30pm when the show kicks off, I have a rictus grin for the first half hour. ‘Good Morning Baltimore’ is such a feelgood opener, and the whole thing is executed with more energy than Drax power station that it seems churlish to mention I can’t hear every word. Those American accents are sometimes ramped up so much and the speed of the songs so fast that I’m left catching every other word, a little like most of Hamilton. But hey, I’m of that age.

In case you didn’t know, Hairspray handles some very heavy, important issues with a lightness of touch that seems in danger of trivialising segregation in the US and on TV. It’s also about sizeism as much as it is racism, and a fabulous underdog story of a brave few who attempt to destroy the system. It’s almost impossible not to be carried along by the wave of good will.

Katie Brace does a terrific job as Tracy Turnblad, the non-size zero young heroine who bucks the system by getting her big break on squeaky clean The Corny Collins Show. Kirsty Sparks is also on top form as the ‘boo hiss’ waspish antagonist Velma Von Tussle. Good support too from Joseph Bristow as Collins, and Shemar Jarrett as the all-singing, all-dancing Seaweed. And a special mention too for Kayla as the fabulous Little Inez.

The story may be set in 1962, but sadly key themes have not changed in the past six-plus decades. It seems more relevant than ever to ‘fight the power’, especially over the next four years.

“Heartwarming”

Every member of the cast gives 100 per cent, but as I’m a massive Neil Hurst fan, he brings the house down in every scene as the lovable matriarch Edna. There are times when it’s like watching a young Michael Ball on stage. And that touching scene with husband Wilbur (here played by Dermot Canavan) which left Ball in hysterics years ago “I can feel the bells”, is just as hilarious this time around during the heartwarming ‘You’re Timeless to Me’.

It’s here that the line blurs between pantomime and John Waters-inspired musical as countless Hurst fans, no doubt won over by his now annual panto turn at Hull New Theatre, are in hysterics. I’m amazed nobody says “It’s behind you!” All of which will become clear if you see the show before it bows out on November 23.

A fabulous set, excellent choreography and that terrific cast make this a must-see, whether, like me, you walk two miles for the privilege, or are chauffeur-driven to the theatre.

Highly recommended.

‘Hairspray’ is at Hull New Theatre until November 23rd
images: Pamela Raith Photography