Hairspray: Fanflamingtabulistic!

Fanflamingtabulistic!

There is but one fault with this show - the sound mix is on the toppy side, giving Al Warren's hot-cooking little band too many opportunities to drown down the vocalists.  The rest though is pure entertainment magic.

It's been a while since a complete and magnificently realised production hit the Regent on Broadway stage.  And with some aplomb and panache.

From the quirky cartoon set and animated lighting effects to the colourful sixties cozzies and high hairdos; from the choreography and chorus work to the characterisations, this is a lavish high-energy feel-good masterpiece.

Obviously a heap of hard work has gone into the craft and style of this production.  That shows everywhere - while at the same time, it doesn't.  The snazzy stand-out ensemble "guys and gidgets" dance routines are presented with a high degree of precision and flair with none of the effort being obvious.  Director Ian Harman has assembled a to-die-for cast.  The performers look, sound, reflect and become their roles.  Such across-the-boards consistency is rare for any non-professional production, but Hairspray offers its audience a stage of stars.

Newcomer Danica Manson is the essence of social more-busting heroine Tracy Turnblad.  Tracy incurs the wrath of racist show producer and former Miss Baltimore Crabs(!) Velma von tussle, played in stunning voice and spiteful chic by Val Andrew.

Tracy's best friend is a crack-up Penny Pingleton, courtesy of a delightful scene-stealing Alexia Clark.

Amy Hunt delivers a knock-out as big mama Motormouth Maybelle.  Then there's Edna, Tracy's XXXXL mum in a larger-than-life portrayal panto-dame style by Andrew Hodgson bouncing off Wilbur her cornball husband, a playful Ben Jones.

Add perfectly pitched cameo roles, a dollop of cheesy humour, peppy toe-tapping music and a heartwarming message about love, acceptance and tolerance and it's no wonder the opening night audience were cheering.