You can't stop the Hairspray beat

‘‘THE NICEST KIDS IN TOWN’’: With a fierce crew of dancers (from left) Chello Ngata, Kamaya Lockley, Kylah Ashwell, Eri Ngaro and Veronica Siata behind her, Tracy (Amanda Franz) has what it takes to win a place on the Corny Collins Show. Pictures by Stephen Jones

HOLY Mary Mother of God, where did Musical Theatre Gisborne find Amanda Franz and where did she find that voice? Make no mistake, MTG’s winter show Hairspray, launched last night at the War Memorial Theatre, is an ensemble piece.

But every show must have its stars and somewhere, somehow MTG found a veritable constellation.

Which is just as well. With only five shows in the season, Hairspray nearly booked out. With opening night packed to capacity, even star director Bryan Aitken found himself scrambling for a seat.

First, of course, in the primary role of Tracy Turnblad is Franz who, though seemingly a quiet presence on stage, declares it game-on the moment she opens her mouth and lets loose with that sweet yet powerful vocal.

So it goes on. Peter Derby cross-dresses into the role of Tracy’s mum Edna, with humour and heart; Hugh McGuinness brings just enough lunacy to lovable husband Wilbur; and James Packman gives depth to his shiny TV host Corny Collins.

Then there’s Suzan Anderson as the villainess Velma Von Tussle – she actually is evil, the Balti-Moron – and there is comic genius in Steph Barnett’s various turns as the “female authority figure”.

Particularly interesting is the exciting potential seen in some of the minor leads. Leeim Rowe injects charm and suavity to his role as love-interest Link; Nicole Miller brings a bit of ferocity to the dorky Penny; and as jive-talking Seaweed, Kassidy Goldsmith is reminiscent of a young Jon Stevens.

Ensemble makes the showOf course, there’s the ensemble — a singing, dancing cacophony of colour that, thanks largely to the choreography of Tessa Beattie, totally makes the show.

Together they form a more than 50-strong cast that tells the story of Baltimore teen Tracy who, having found fame as a dancer on 1960s phenomenon the Corny Collins Dance Show, uses it to push for integration of the races.

As the resident fatties, she and Edna are not the only marginalised folks — geeks, blacks, gays, those on the gender spectrum, all get a place in Team Turnblad.

That’s what earns Hairspray its place among the great pieces of musical theatre. It’s not just great songs, it’s a great message as well.

Fortunately, it’s also set in the colourful 1960s, which allows Julie McPhail to lead her costuming team in creating a fantastically era-appropriate yet contemporary wardrobe.

With his set design, Aitken taps into the pop-art of the time to create castor-carried pieces that spin and roll to make for seamless transitions from one location to the next.

Chris Reynolds’ epic 15-piece orchestra brings power and warmth that simply cannot be replicated with the too oft-used recorded music.

Meanwhile, back to those stars. Gisborne already knew it had one in international award-winning country singer Lesley Niania but her portrayal of sassy mama-cum-freedom fighter Motormouth Maybelle is a revelation.

Sure, Hairspray composer Marc Shaiman has been open about his homage to the songs of the era, but when Niania belts out I Know Where I’ve Been she really is singing Sam Cooke’s equal rights anthem A Change Is Gonna Come.

That, in a nutshell, is what’s so great about Hairspray. It’s flighty, it’s fun but at the end of the day it has something to say and is not afraid to say it.

You really can’t “stop the beat”.