HAIRSPRAY is a feelgood show about a girl with big hair, a big heart and big dreams - and, along with the quirky Sixties vibe and catchy songs, it has a big message.
It’s about segregation, prejudice, tolerance and acceptance, says Brenda Edwards, who’s directing the hit show, heading for Bradford next week.
With a cast including former Strictly Come Dancing champion Joanne Clifton as Velma Von Tussle, the much-loved musical’s score includes Welcome To The 60s, Good Morning Baltimore and You Can’t Stop The Beat.
Originally a cult 1988 film, starring drag queen Divine as Edna Turnblad and Ricki Lake as her daughter Tracy, Hairspray became a West End and Broadway stage hit, re-made as a film in 2007, with John Travolta stepping into Edna’s shoes. It’s the story of Tracy Turnblad, who dreams of dancing her way onto TV, via the Corny Collins Show, and into the heart of teen idol Link Larkin. When Tracy becomes a local star, she uses her fame to fight for inter-racial unity in Baltimore. But can she win equality - and Link’s heart - without denting her ’do?
Brenda Edwards, Loose Women panelist and musical theatre star, who has played Motormouth Maybelle in three tours of Hairspray, tells us more: “Hairspray is about championing the underdog. Tracy has big dreams and wants to be famous. She wants to be liked, she wants to be loved, she wants the boy! She’s judged by some people for how she looks. “Unfortunately, it’s still very relevant to the world we’re in today where you’re dealing with racial tension, discrimination and people not able to be themselves.
“Tracy is naive in that she doesn’t understand why things are segregated. She thinks everybody should be integrated. I think it’s beautiful the way she ends up pulling two communities in 1962 Baltimore together against all odds. It’s a story that talks about racial discrimination, but it’s not a preachy musical. And all the songs are wonderful, you really do leave joyful. I just want audiences to leave feeling inspired by Tracy.”
* You got your break on X Factor before launching a musical theatre career. Now you’re making your debut as a director. How have you found that process?
“Our producer says it’s like seeing it with a different lens through my eyes. I’ve developed it a bit more to get people to think about it maybe in a slightly different way. When I first came into the show they were singing The Nicest Kids in Town, one of the lyrics around race was quite eye-opening for me. It’s about exploring that and how times were in 1962 Baltimore. I’m working with Paul Kerryson, who directed all the Hairspray productions I’ve been in and he’s wonderful.”
* Does the knowledge from being in this show help you as a director?
“Yes, being backstage you get to see the organised mayhem. I can appreciate all the running up and down that goes on and I wanted to try to find ways of making it easier for the performers and for wigs, wardrobe and make-up. It’s about letting the performers know we’re all part of a team: the backstage crew and production, we’re all there to work together.”
* What have your learned from Paul Kerryson?
“He’s taught me to listen, that’s very important. I might go in there with an idea and he’ll say: ‘Step back, think about the bigger picture’. With Hairspray, you can find actors’ individual personalities and bring that to the table. I’ve listened to the cast and their suggestions.”
* How is the show’s examination of racial discrimination in the 1960srelevant in 2024?
“Hairspray addresses the story of something that really happened in 1962: black people weren’t allowed to be on television. It’s crazy. I think it’s important for people to not feel scared to talk about discrimination, whether that be sexual or racial. Not everybody knows the right way to say things nowadays.
maybe a nervousness about discussing it and opinions can be so instantly judged, and that can be frightening. I was born in 1969 and I saw racial discrimination, and unfortunately, I still see it today. And it saddens me every time. But the one thing that I do is stand up for myself. And that’s what this story is about.”
* Velma Von Tussle embodies racism in America in the 60s amidst the Civil Rights Movement. Do you think she learns anything?
“I wanted to show the two sides of Velma, the bigoted side that is her way or no way, but also her vulnerability. The thing with Velma, she kind of hates everybody. It’s not just a racial thing. I think she’s just had a really bad life. There’s also the question of nature or nurture, with her daughter Amber, who’s picked up her mother’s ways. I’d like to be able to show that even though it’s too late for her mother, maybe Amber can grow. Joanne Clifton who plays Velma, is amazing. She’s got a fantastic voice and is such a talent.”
* You held open auditions, and found your Motormouth Maybelle.
“Yes, I was very proud of that. It’s about inclusion, giving an opportunity to somebody who wouldn’t necessarily have had it. Michelle Ndegwa has a beautiful voice; as soon as she started singing I got goosebumps. Motormouth to me is the linchpin of the show with phenomenal songs like I Know Where I’ve Been. I’m excited for everybody to hear Michelle’s beautiful voice that’s got so much soul and gospel heart.”
* Why you did you go for open auditions? “One of the reasons is because I came from an open audition. That’s how I started, through X Factor. I queued up, I did my best and reached the semi-finals. So it’s nice to give encouragement to others who wouldn’t necessarily know the channels to go through; it’s a competitive market, finding an agent and getting them to sign you up and believe in you. That’s not easy. There’s some amazing talent out there. We had a couple of thousand people come through and I’m so glad we managed to get some of that talent in our show.”
* Do you have a favourite number?
“I love Big, Blonde and Beautiful because it’s a fun song and goes through so many gears. And You Can’t Stop the Beat is a fabulous song. Everybody’s on their feet, dancing, singing, clapping, it’s just a barrel of joy.”
* Hairspray is at the Alhambra from November 25-30. Call (01274) 432000 or visit bradford-theatres.co.uk
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