Showing posts sorted by relevance for query Laurence Myers. Sort by date Show all posts
Showing posts sorted by relevance for query Laurence Myers. Sort by date Show all posts

Thursday, 14 September 2017

Hairspray (UK Tour), Bord Gais Energy Theatre | Review


Hairspray (Tour)
Bord Gais Energy Theatre, Dublin
Reviewed on Monday 11th September 2017 by Damien Murray 
★★

Despite highlighting serious issues such as prejudice and intolerance, this show remains a popular, light-hearted and fun night of musical theatre and this latest touring production – courtesy of Mark Goucher, Matthew Gale and Laurence Myers – certainly kept it in this now famous ‘feel-good’ vibe.

Set in Baltimore in 1962, against a backdrop of racial segregation, the simple scenario of wanting teenagers of all colours to be able to dance together on a local TV dance programme with a campaign for integration on the show reflects the wider problem of racial segregation and to a welcomed social change at that time.

Opening with a look down at teenage Tracy in bed before hitting hard with one of the show’s most popular songs, 'Good Morning Baltimore', this production got off to a bright up-tempo start in a busy street scene with the dancers quickly establishing the two main communities of the piece, and – under Paul Kerryson’s direction – this theme was reinforced throughout (e.g. there was the telling line that “the TV is black and white” and the costumes in the jail scene were all black and white for the protesters as opposed to the colourful costumes that were used in the rest of the show).




Staged with a practical and realistic brick house set at either side, this production used mobile trucks and effective projected scenery throughout to keep its fast-moving pace in place, while Philip Gladwell’s bright and colourful lighting plot brought a lot to the show and I loved, at the start of each Act, how the audience was flooded in moving coloured lights to create a fun atmosphere.

As a dance-orientated show, Drew McOnie’s choreography and movement was always slick, lively, entertaining and of its time and it was a brave decision to do a routine at one stage with several basketballs being thrown about on a crowded stage.

While the costumes were overly bright (probably for staging purposes to increase the fun and escapism elements of the production), they – like the hairstyles – were authentic for the era.

The mostly up-tempo score was varied with 60s Pop, Rhythm & Blues, Doo-Wop and Gospel influences, and Musical Director, Ben Atkinson, and his 7-piece on-stage band did well in keeping things moving at a lively pace and with such a full-on sound, despite this show being written for a much larger instrumentation line-up.




While the comic duet, 'You’re Timeless To Me', proved popular with audiences, songs like 'Mama, I’m A Big Girl Now' and 'I Can Hear The Bells' were well staged; the latter having a particular magical feel to it.

However, the big production numbers that really stood out were: 'Welcome To The 60s', complete with the female vocal trio’s sparkling dresses and the floor gobos and wallpaper displaying a popular pattern of the era; the glorious piece of Gospel, 'I Know Where I’ve Been', which almost lifted the roof; and the all-singing, all-dancing finale, 'You Can’t Stop The Beat', with its totally infectious feel-good factor.

Sometimes there is something about the way a particular show is written, or cast, that is simply annoying and, for me, it is why there is a tradition of playing Tracy’s mother, Edna, as a ‘drag-role (i.e. always played by a man), as the character is not a drag queen, but was first played by one).
I feel it adds nothing to the show and is unnecessary … maybe it is just me and I am missing something obvious, but I just don’t get it.

However, that said, this is certainly no reflection on the talents of Matt Rixon, who played the role of the large, kind and shy Edna superbly in what could best be described as a towering performance, especially against the physically smaller, Norman Pace, as her ever-joking but loving husband, Wilbur (maybe that is the reason for the ‘drag-role’?).




Brenda Edwards’ super soulful vocals made her perfect for the part of the sassy and determined Motormouth Maybelle, while the experienced performance by Gina Murray, as the producer and controlling mother, Velma, was a show-stealer here and this scheming villainess must surely be the most glamorous ‘baddie’ of them all.

If Velma was the baddie, then young Rebecca Mendoza was a real ‘goodie’ here, making an impressive professional debut as the big-hearted and teenage Tracy.

All were well supported by the lively ensemble and others like Jon Tsouras’ self-loving Corney, Layton Williams’ energetic and popular, Seaweed, Edward Chitticks’ heart-throb pop star, Link, Aimee Moore’s not so talented and selfish wannabe, Amber, and Annalise Liard-Bailey – another recent theatre graduate – as the dim but beautiful, Penny.

Hairspray is at the Bord Gais Energy Theatre until September 16th before continuing on its tour.

Photo Credit: Darren Bell

Tuesday, 13 March 2018

Hairspray (UK Tour), Edinburgh Playhouse | Review


Hairspray (UK Tour)
Edinburgh Playhouse
Reviewed on Monday 12th March 2018 by Michèle Duck & Viv Conway
★★★★★


The funny, daring and radical story of Hairspray truly dances to its own beat. After the last curtain fell at the Edinburgh Playhouse, the residue of hope of change was left in the air. Mark Goucher, Matthew Gale and Laurence Myers present the story of Hairspray with an exceptional cast and orchestra, based on the New Line Cinema film by John Waters. 

The musical tells the story of racial segregation in America and the fight for racial equality. From mentions of Rosa Parks and Martin Luther King, the audience are reminded of a struggle that although portrayed as historic, is still relevant today all over the world. The story of bravery, friendship and ‘doing what is right’, is told in a charming and compelling manner through the lyrics of Scott Whittman and Marc Shaiman. The story is told through the bright, naïve  eyes of Tracy Turnblad and her passion for dancing. As Tracy’s understanding of herself and world widens, her ambition grows into a galvanising desire for change. 


It is hard to know where to start with such a talented and energetic cast. Every cast member brought life and vitality to the performance and executed the complex choreography with vigour, precision and enjoyment in equal measure. 

A particularly captivating and poignant performance from Motormough Maybelle (Brenda Edwards) in I Know Where I’ve Been, caused the audience to tangibly hold a collective breath. Her words wove a story of segregation which although targeted to the 1960s, still rings true in the current global climate. This song tells a heartfelt story of loss and struggle and the promise of a better life. One wonders when we may truly get to the ‘Promised Land’ that Martin Luther King described in his speech the day before he was assassinated. 

Edna and Wilbur Turnblad (Matt Rixton and Norman Pace) were a down to earth, honest and side-splitting double act, which really brought life and humour to the show. Whether forgetting their lines was intentional or not, their realistic and relaxed roles bounced (literally) off each other in a light-hearted and warm rendition of You’re Timeless to Me. 


Annalise Liard-Bailey brilliantly executed her goofy portrayal of the ‘best-friend’, Penny Pingleton with perfect mix of humour, talent and relatableness. Laird-Bailey is one to watch.

However, the stand out performance of the show came from Seaweed (Layton Williams). Williams brought his character to life, and before the audience knew it, Seaweed became the leading man. Between his back flips, his energetic and sensual rendition of Run and Tell That, William’s raw talent and clear love of musical theatre shone though, infecting the audience with his energy. This leading role take-over was very appropriate considering the shows storyline of the journey to equality.  

Overall, the 2018 cast of Hairspray tells a family friendly and warm hearted story. Through its upbeat songs (who doesn’t love a singalong encore), the audience are left with the important underlying message of standing up for what you believe is right, no matter your size. After all, all that really matters is the size of your heart.

Hairspray runs at the Edinburgh Playhouse until March 17th before continuing it's tour.

photo credit: Darren Bell