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ReviewsYou are in: London > Entertainment > Theatre > Reviews > First night: Hairspray The show is a tribute to the early 60s First night: HairsprayShaftesbury Theatre Our critic Mark Shenton welcomes a show with big hair, an even bigger heart, and which dares to be seriously subversive, too...
Help playing audio/video Having a bad hair day? Hairspray is the product to set you right. What began as a John Waters comedy in 1988 and then became a Broadway musical in 2002, with a film version released earlier this year, is now finally on the London stage - and it couldn't be more welcome.
This is a musical that is pitch-perfect in every sense: a day-glo tribute to the early Sixties - a time when, as the song here goes, "everybody's groovin' to a brand-new sound". And instead of offering a recycled pop jukebox to illustrate the point, Hairspray features a brand-new score that brilliantly both pastiches and lovingly honours that period. This is just one of the original features of a show that is full of big hair and an even bigger heart. But it also dares to be seriously subversive, too, in its story. First, in the matter-of-fact cross-casting that has the West End's leading musical man Michael Ball turn leading lady to play Edna Turnblad, an agoraphobic plus-sized mum to her equally voluptuous daughter Tracy. And then, in the awakening of social activism that Tracy embodies in her attempts to conquer size-ism against herself and the racial segregation of Sixties American society. still-boyish dimplesAs the musical chronicles her ambition to join a TV dance show and also make sure that her black classmates can do so, too, a gloriously bubblegum confection gives audiences something else more serious to chew on. Leading man Ball turns leading lady But the message isn't sledgehammered here: the triumph of Jack O'Brien's endlessly witty production is how light on its feet it is, albeit in Ball's case, with his 54" triple E chest, a top-heavy one. That's partly thanks to the warmth of Ball's lovely performance, only his still-boyish dimples betraying his identity beneath the physical padding. His Edna is lovingly partnered by Mel Smith as husband Wilbur, even if Smith can't resist his trademark mugging. But it is adorable newcomer Leanne Jones as their daughter Tracy who both galvanises the action and the show with an irrepressible energy: she is fat, funny and fabulous. Grease - which returned to the West End this summer - may still wish to be the last word in period pastiche, but it's finally been eclipsed by this far more intelligent and wittier show.听 RELATED LINKS: last updated: 25/11/2008 at 17:37 Have Your Say
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