Hairspray – Wolverhampton Grand

“Hairspray” explodes onto the stage of the Wolverhampton Grand with all the vigour, vibrancy and verve one has come to expect and does exactly what it says on the spray tin. It’s a wild effusion of fun and frolics expertly delivered and tempered with a sobering seam of politics of racial segregation. John Water’s originally movie strutted out of the celluloid closet way back in 1988 featuring the grotesque drag artist Divine in the mother role creating a cult sensation. The tradition of casting a male in the female role continues today and it’s an interesting decision in the air of the shifting notions of identity and genre which have emerged since the show’s inception especially in a country which already has a long tradition of the dame. However, Neil Hurst is a natural in the role and makes an indelible impression filling the high heels once worn by Michael Ball and Brian Conley (among others). He dextrously deploys adept comic timing and creates a solid plausible, character which doesn’t succumb to the pull of pantomime and paints a true person we soon love.

Katie Brace grabs the role of Tracy Turnbland and makes it her own and endearingly so. Michelle Ndegwa has a sonorous soulful voice as Motormouth Maybelle perfectly employed in the first act closer as she delivers a triumphant anthem to those who stood up for human rights from Rosa Parks to Martin Luther King with all the passion of an inspired evangelist revealing the show’s true message.

The orchestra was astounding, the sound, though at times shrill from all those faux American accents, was crisp and the lighting perfect. Paul Kerryson, well versed in putting on spectacular musicals, maintains his enviable reputation and, together with co-director Brenda Edwards, gives us an ovation-worthy production which delighted our audience at the Grand tonight.

But try as they might to engage us with deft, adroit technicals and precision dancing and music the show really takes us to its heart when two hugely experienced pros in the form of Neil Hurst and Dermot Canavan (as her husband Wilbur) are given a simple, quiet moment to perform a clear, clean duet connecting with the audience single handedly in a way hours of choreography could never. The technology may justify the ticket price, but moments like this earn it. It was a delight to see them conjure up something often missing from theatre these days – a bit of fun.

Reviewer: Peter Kinnock

Reviewed: 3 February 2025

North West End UK Rating: