The irresistible feel-good musical Hairspray has burst onto the Sunderland Empire stage this week with a kaleidoscope of colour, infectious rhythms, and an uplifting message that never goes out of style. With a dazzling cast, toe-tapping tunes, and tight direction from none other than Brenda Edwards – herself a former Hairspray star – this production is a joyous celebration of individuality, community, and change.
There are a small number of shows that I love to watch and this is one. I know I will have You Can't Stop The Beat going through my head on the drive home. A show that you leave with a smile on your face.
Set in 1962 Baltimore, Hairspray follows the story of Tracy Turnblad, a big-hearted teen with big dreams and even bigger hair, who dances her way into stardom on the Corny Collins Show and fights to integrate the once-segregated dance programme. It’s a story that still resonates today, packaged in glorious musical numbers and larger-than-life performances.
Katie Brace stars as Tracy and she encompasses the fabulous positivity of a character that sees good in everyone. She brings a winning combination of innocence, determination, and humour to the role, carrying the show with ease and boundless energy. Her vocals are strong, her timing impeccable, and her sincerity shines through in every scene. She absolutely earned the enthusiastic standing ovation on press night – a star turn in every sense.
The heart and soul of the show, however, are Tracy’s quirky but loving parents, Edna and Wilbur Turnblad. Neil Hurst delivers an outstanding performance as Edna, balancing broad comedy with genuine emotion. His chemistry with Dermot Canavan’s Wilbur is truly touching, especially during their duet “(You’re) Timeless to Me”, which had the audience in stitches and sighs in equal measure. The duo’s onstage rapport feels authentic and joyous – a clear highlight of the evening.
Michelle Ndegwa stuns as Motormouth Maybelle, delivering powerhouse vocals and commanding the stage with grace and presence. Her rendition of “I Know Where I’ve Been” was spine-tingling and brought a poignant weight to the show’s themes of racial equality and perseverance.
There's a need for a villain of the piece and in this show Joanne Clifton appears as the openly racist television producer Velma Von Tussle, a mother with a mission to propel her daughter Amber to stardom. Allana Taylor completes the pairing as the aspiring young personality. Their performance gives the show a pivot that doesn't descend into the boo-hiss of panto.
Solomon Davy charms as teen heartthrob Link Larkin. He’s suave, vocally assured, and brings warmth to the role, making it easy to see why Tracy falls for him. Katlo’s Little Inez is delightful – bright, feisty, and full of charisma. In supporting roles, Freya McMahon is a comic gem as the awkwardly adorable Penny Pingleton, while Reece Richards brings energy and charisma to Seaweed, delivering some of the slickest moves of the night.
The ensemble cast are tight and enthusiastic, executing Drew McOnie’s original choreography with flair and precision. Every number crackles with life, from the iconic opener Good Morning Baltimore to the rousing finale You Can’t Stop the Beat, which had the audience up on their feet and clapping along. Brenda Edwards’ direction keeps the pace brisk and the tone buoyant, ensuring every emotional beat lands while keeping the fun front and centre.
A key part of this production’s magic is the presence of a live band, led with verve by Musical Director Rickey Long. It’s a thrill to see musicians on stage, and the band adds vibrancy and authenticity to the score. The brass section, in particular, deserves special mention for their dynamic performance that lifts each number to new heights.
The show’s vibrant aesthetic is another triumph. The bold, cartoon-like set and colourful costumes transport us straight into the early 60s, and the lighting design punctuates the action with sparkle and drama. From the hairspray can-shaped set pieces to the rainbow-hued dance costumes, every visual detail adds to the party atmosphere.
For those unfamiliar, Hairspray began life as a cult 1988 film by John Waters, known for its offbeat humour and subversive charm. It was adapted into a stage musical in 2002 by Marc Shaiman (music), Scott Wittman (lyrics), and Mark O’Donnell and Thomas Meehan (book), opening on Broadway to great acclaim. It went on to win eight Tony Awards, including Best Musical, and has since become a global phenomenon – and with good reason. Its messages of acceptance, equality, and joy are wrapped in unforgettable tunes and characters you can’t help but root for.
I would argue that the musical is one of those rare adaptations that has its own momentum now that is separate from the movie of origin. A number of those watching the show this week will not have seen the original picture and this is down to the skilful writing of the musical - they ensured that you don't need to be familiar with the source material. The exposition is delivered quickly and efficiently, the set up has been transferred to the stage in a way that acknowledges that what makes a good movie is very different to what makes a good stage performance.
This latest tour production manages to capture all of that original spark while injecting a fresh sense of fun and relevance. Brenda Edwards, having previously played Motormouth Maybelle herself, clearly understands the heart of the show and infuses every scene with warmth and humour. Her direction ensures that the social commentary is never lost amid the laughs, and the result is a show that is as moving as it is entertaining.
In a world that sometimes feels increasingly divided, Hairspray is a joyful reminder of the power of community, courage, and coming together. It’s a show with a big heart, a big voice, and, yes, big hair – but it’s the message that stays with you long after the glitter has settled.
If you’re looking for a night out that will leave you smiling, dancing in your seat, and maybe even wiping away a tear, Hairspray at Sunderland Empire is not to be missed. It runs until Saturday 19 April – we enjoyed it and look forward to seeing it again.
Review: Stephen Oliver
Photos: Pamela Raith
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Tickets:
Tickets are available from the theatre box office or online from ATG Tickets: LINK
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