The Nottingham Theatre Royal’s press night for Hairspray unfolded under unique circumstances, with a remarkable twelve understudies, alternates, and swings stepping in for the evening’s performance. This kind of reshuffling can create uncertainty, but the cast rose to the occasion, showcasing both dedication and resilience. Their efforts underscored the immense skill and flexibility required of performers in musical theatre, and the production, despite some setbacks, delivered a memorable experience.
At the heart of the show’s success is Michelle Ndegwa as Motormouth Maybelle, who brings both vocal strength and emotional depth to her role. Ndegwa’s performance is a standout, particularly in her fantastic renditions of “Big, Blonde and Beautiful” and “I Know Where I’ve Been.” These numbers reveal not only her stunning vocal range but also her nuanced ability to ground the character in authenticity and heart, making her portrayal of Maybelle compelling and resonant. Ndegwa’s Maybelle anchors each scene she appears in, adding a layer of emotional gravity that elevates the production.
Alexandra Emmerson-Kirby also shines as Tracy Turnblad, capturing the character’s buoyant personality and genuine optimism. Emmerson-Kirby’s energy and enthusiasm are infectious, drawing the audience into Tracy’s world with charm and a natural sense of humor. Her acting, singing, and dancing showcase her versatility, establishing her as a true triple threat and one of the production’s highlights. Olly Manley’s Link Larkin, too, stands out, particularly during “It Takes Two,” where his vocal talent and subtle charisma bring an appealing tenderness to his character.
The supporting cast adds much to the show’s energy. The Dynamites—Grace Anyiam, Vanessa Dumatey, and Sasha Monique—are a dynamic vocal trio whose harmonies enrich numbers like “New Girl in Town” and “Welcome to the 60’s.” Their presence is magnetic, and their vocals captivate, making one wish they had a more substantial role. Issie Wilman’s Amber Von Tussle also shines; she crafts a humorous and layered portrayal of the bratty, self-centered antagonist. Though Amber’s character could easily feel repetitive, Wilman skillfully adjusts her performance to keep the character fresh and engaging, even adding touches of vulnerability beneath Amber’s surface selfishness.
While the cast’s performances are a highlight, some creative decisions impact the production’s potential. Under Paul Kerryson and Brenda Edwards’ direction, scenes involving ensemble members sometimes feel stilted, with minor characters stepping briefly into the spotlight before retreating to the background. This approach can disrupt the pacing, making certain moments feel less cohesive and unnatural. Additionally, the heavy reliance on projections rather than physical sets for scene transitions leaves the stage feeling sparsely populated. Transitions between settings occur through flat, fading projections, which do little to bring the show’s world to life. This leaves the onus largely on the cast to fill the space and maintain momentum, occasionally stretching their efforts thin.
When physical set pieces do appear, they feel somewhat underwhelming. Many move on and off the stage from what resemble brickwork garages and occupy only a portion of the stage, which contributes to a sense of imbalance, as though the world of Hairspray is only partially realised. The production’s most visually striking and impactful scenes actually come when sets and projections are minimal, such as in “Velma’s Revenge” and the Act II reprise of “Good Morning Baltimore.” In these scenes, the use of Philip Gladwell’s evocative lighting and the cast’s emotive performances create an intimate atmosphere that allows the audience to connect more closely with the characters. These moments reveal the potential power of simplicity, where pared-back staging allows for a more raw and character-focused experience.
Drew McOnie’s choreography does capture the 1960s energy and style with dynamic flair, infusing each scene with movement that captures the era’s spirit. However, the choreography can occasionally compete with the narrative, creating moments where high-energy dance routines obscure the story’s emotional core. While the dance numbers bring joy and vitality, they sometimes risk overshadowing quieter, more character-driven moments.
The production’s difficulties extend to its navigation of Hairspray’s complex tone. Hairspray, at its heart, combines John Waters’ quirky, offbeat humor with serious social themes. Mark O’Donnell and Thomas Meehan’s book attempts to filter Waters’ campy, wacky style through a more conventional musical theatre lens, merging comedic elements with genuine exploration of racial integration and equality. However, the direction never fully embraces either end of this spectrum, leading to an uneven tone. The show oscillates between the light-hearted quirks of Waters’ original vision and the weightier themes, and at times, this balance feels unresolved.
For instance, the production includes projections of iconic protest marches and figures like Martin Luther King, which appear amidst scenes tackling racial inequality. However, these moments feel tonally disconnected from the overall narrative, as though they lack the gravitas needed to support such weighty themes. Rather than weaving social messages organically into the storyline, the projections feel like sudden, jarring additions that do not resonate fully with the storyline’s flow or the characters’ journeys.
Ultimately, Hairspray at the Nottingham Theatre Royal is an entertaining production that boasts a dedicated and talented cast, who bring life and vibrancy to the show despite certain creative challenges. The production’s shortcomings, particularly in direction and set design, leave room for improvement, yet the cast’s committed performances infuse the show with energy and heart. Michelle Ndegwa’s Motormouth Maybelle and Alexandra Emmerson-Kirby’s Tracy Turnblad are particular highlights, and the ensemble’s enthusiasm and skill create a lively experience.
While it may not fully capture the tonal complexities and thematic depth of Hairspray, this production provides a spirited night of theatre, buoyed by a cast that truly delivers under challenging circumstances.
Hairspray plays at the Nottingham Theatre Royal until Saturday 9th November 2024 where it will continue its UK tour.
Photography throughout from Ellie Kurttz.
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