Presented by: Harvest Rain
Reviewed: 14 October 2016
In 1988, cult film director John Waters unleashed Hairspray upon an unsuspecting world. Known as the ‘Pope of Trash’ for his avant-garde comedic movies full of rough and ready charm, Waters truly went main-stream with Hairspray. Featuring the final appearance of drag artist Divine and a cast of thousands, it proved the most popular success of his career. From his days of lurking the streets with a camera filming underground classics such as Pink Flamingos to this, Waters received long overdue accolades for his humorous style. Since then, he has travelled the world dishing out his shocking thoughts on subjects considered taboo. The irony is that today’s society is probably even more twisted than even he initially envisioned with his shock value slowly diminishing. Waters has had the last laugh however with his films and other works being reappraised for their artistry and wit. With the world now almost like a constant scene from one of his films, it seems natural one of his movies would be turned into a theatrical musical event.
A story about social injustice and being who you are in 1960’s suburbia, Hairspray spins a tale anyone can relate with. Mixing in some cool music suited to the era and a hit is assured as it became when it opened on Broadway in 2002. Fourteen years later its latest stage incarnation finds itself within the confines of the Adelaide Entertainment Centre. Billed as a ‘big fat arena spectacular’, it more than lives up to the title. Utilising a simple, all-purpose stage set, the production draws on the spectacle of its enormous cast.
Under Callum Mansfield’s choreography, the Adelaide Entertainment Centre came alive with hundreds of energetic performers giving it their all. Their enthusiasm easily transferred to the audience who lapped up the contortions with glee. Hairspray is meant to be a colourfully dynamic work and the performers worked hard to ensure that happened. The admiration towards Mansfield’s excellent physical renditions of songs remained undimmed until the final, stirring finale. Every inch of the Adelaide Entertainment Centre’s space was very well used, with the filled areas making the show feel like a truly epic and unique experience.
Capturing the essence of the remarkable dance moves were the central cast who swiftly inhabited their roles. Tim Campbell, Simon Burke, Christine Anu, Wayne Scott Kermond and Lauren McKenna as lead character Tracy Turnblad, all delivered strong evocations of their roles. It was easy seeing their joy in presenting such a camp delight as they pitched their characters with a good mix of pathos and kitsch. Although the original film’s themes were there if you wanted something substantial, Hairspray never forgot to be fun. It has been billed as escapist, enjoyable family entertainment and it conjured that in spades. Those who have never seen either film versions can still be involved in the story due to the good acting and singing with nary an off-key note to be heard. The performer’s voices were very strong and injected the right amount of passion and wit within the frame-work of the consistently toe-tapping tunes. The orchestration was excellent with the Adelaide Entertainment Centre’s acoustics given a run for their money.
Computer graphics were also used to successfully set the scene with the very chic-style animation working perfectly to evoke the era in which the story is set. The costuming was first rate with the attention to detail in the colour and gaudiness of them much appreciated. Pace-wise the show could have been trimmed a little as the first act especially dragged somewhat. The shorter second act moved better but overall you couldn’t fault the continual atmosphere of elevated fun and good humour. There were times where even the actors found it difficult staying in character such were the silly lines they spouted. This showed their mastery of the ad-lib and also the flexible format of Water’s original work.
Hairspray: The Big Fat Arena Spectacular is just that. A funny, outrageously camp and wondrously colourful ode to a slice of history, the arena version of Hairspray is well worth anyone’s time. Knowing John Waters is still around to see one of his works so admired by mass audiences adds to the delicious irony of the director’s initial beginnings with his viewpoint of the world finally coming full circle.
Reviewed by: Patrick Moore
Twitter: @PatrickMoore14
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