Review: Hairspray

Hairspray/Cork Opera House

****

Hairspray is one of those shows where a character alone on stage inevitably cues a solo. As that's about the only time in this production one can identify the vocal source it may be incorrect to remark that Ciaran Bermingham - as Edna, mother of the heroine - displays not only a backside which moves independently of the rest of his body, but a glamorous pair of legs and a fine voice. The legs are definitely his, and it could be that so is the voice.

A male actor playing a leading female role is one of the mischievous exaggerations enhancing the joint themes of civil rights and fashions for the fuller figure, a conjunction of issues (both black and big are beautiful) which strengthens the content of this lively work. It is also evidence that a story of youthful ambition can have room for older yearnings: Bermingham's duet with Michael Grennell transcends drag and offers seasoned emotion.

That fits a plot centred on the ferment of new music (rhythm and blues), teenage awakening, racial segregation and protest marches which was America’s Baltimore in 1962. Director Joseph C. Walsh works from the New Line Cinema film written and directed by John Waters with book,music and lyrics credited to Mark O’Donnell, Thomas Meehan, Marc Shaiman and Scott Wittman.

The script’s load of sexual innuendo is over-emphasised - but once everyone slows delivery down a little, many witticisms remain relevant today. “Save your personal lives for the camera,” advises a television producer who rejoices in her past success as, amazingly, “Miss Baltimore Crabs” .

Given the title, big hair is expected and the excellent cast plus the band, led from on high by David Hayes, compete - not always successfully - with a busy set and with wigs which would not have disgraced Marie Antoinette.

Until August 23; then at Millennium Forum, Derry September 2-7