Manchester was brought back to the swinging sixties as hit West End and Broadway musical Hairspray arrived at the Opera House.
The powerful musical – where Tracy Turnblad helps integrate African Americans into Baltimore’s all singing all dancing television programme, The Corny Collins Show – packs even more feel-good spirit than the 2007 film.
Fans of the movie are soon in their element as high-energy Good Morning Baltimore sets the scene and the standard for the night, with Rebecca Mendoza, playing Tracy, hitting all the climactic notes.
However, the set is unimpressive with a relatively low-quality screen depicting the street and various other settings. This is opposed to a physical backdrop of flats, but the rhythm and blues is what matters.
The live orchestra are revealed from behind the screen for some numbers, perching high up to receive the attention they rightly deserve.
The Corny Collins Show has all the tightly-synchronised moves from the film, and suits theatre more than the big screen by making it seem like the audience is on set.
Tracy, her mum and friend Amber Von Tussle are cleverly placed stage right to watch TV so the audience can monitor the friends’ reactions, whereas the show’s colourfully-suited dancers initially take centre stage.
SWINGIN’ SIXTIES: The production takes you back in time
Race jokes are taken in good humour from the audience, more in amazement that these slurs were acceptable in the 60s.
After Tracy’s failed audition to become the next Mrs Baltimore, herself and a black auditionee are spotlighted, covertly, but successfully highlighting the injustice felt by African Americans and those overweight.
Arguably the most important scene of the musical, where Tracy first dances with African Americans from the show’s ‘negro day’, has all the hip-busting moves you’d expect.
However, some scenes could be set further downstage to allow the audience to feel more involved.
Perhaps this is one reason why there was a relatively inactive crowd on this night, where no spontaneous dancing broke out until the finale.
Despite this, the glitter-clad Welcome To The Sixties certainly has the feel-good factor the audience is there to see.
Act One was concluded by 2005 X Factor semi-finalist Brenda Edwards’ astoundingly soulful vocals while playing ‘negro day’ star Motormouth Maybelle – a real highlight for many.
FEEL-GOOD: The musical is all about the positive vibes
Protests against the segregated show are staged well by bringing to life the situation with pickets and a large group on stage, but the busy scene’s path isn’t lost on the audience.
Tracy’s mother and father provide a much-needed break after the seriousness of this section, cracking innuendos that have the audience in fits of laughter.
This also gives Matt Rixon, playing mum Edna, the chance to prove he certainly has a better voice than John Travolta in the most recent film.
In this production, African Americans not being accepted in certain aspects of 1960s society is an issue tackled with humour but good taste just as the two films managed.
The integration of African Americans onto The Corny Collins Show culminates in a shoulder-shimmying finale, including You Can’t Stop The Beat, which has everyone up on their feet.
Hairspray has all the moves to live up to the musical’s gripping storyline and even brings it closer to the audience than the film format ever could.
*Hairspray is showing at Opera House, Manchester until Saturday, 7 April. You can buy tickets HERE.
