REVIEW: Hairspray - Queensland Musical Theatre

Presented at Twelfth Night Theatre

Directed by Deian Ping

Music Direction by Nicky Griffith

Choreography by Julianne Burke

Photography by Creative Street & Pif Productions

"There's a dream in the future. There's a struggle that we have yet to win."

There are certain shows that never fail to lift your heart, and Hairspray is firmly on that list for me. Queensland Musical Theatre clearly understands the joy baked into this story and jumps right in from the start.

For anyone who's somehow dodged this musical/film, Hairspray follows Tracy Turnblad, a Baltimore teen with a big heart, a bigger dream, and absolutely no interest in shrinking herself to fit anyone’s expectations. She fights for a spot on her favourite TV dance show, tumbles head over heels in love, breaks down a few terrible social norms, and pulls everyone toward a brighter future. The script is intentionally riddled with the attitudes of the era (racism, fat-phobia, ableism, etc.) so that the story can give them a good ol’ smackdown.

This production keeps the set simple to allow room for the enormous cast, but it never feels bare. Bright costuming and wonderfully ridiculous retro projections do a lot of the visual lifting. Every time a new colourful graphic splashes across the back wall, it is so kitschy that you can’t help but giggle. Hairspray is notoriously tricky to cast — you need performers who can sing, dance, and have the right character "look". Big applause to director Deian Ping for putting together a team this large who can keep up with the show's demands!

From the moment Eloise Newman springs out of bed for “Good Morning Baltimore”, the show takes off like a rocket. She is a brilliant Tracy, with a voice that balances sweetness and power, nailing every big number like it’s a piece of cake. “I Can Hear the Bells” is especially fabulous. She throws in an opt-up, with gorgeous harmonies (and handheld bells) swirling around her, while the haze and lighting create a dreamy rom-com glow. Eloise shines brightest when she leans into Tracy’s dorky humour. Eloise is an absolute joy both on and off the stage. Her later performance in the “Baltimore Reprise” is another standout, especially with the line “I’ll eat some breakfast then change the world!"

Nicholas Joy as Link and Wednesday Reign as Penny both appear right at home the second they walk onstage. Nicholas vocally dazzles in “Without Love,” with the full band energising his committed, lovelorn acting. His chemistry with Eloise feels warm and endearing, and his solo “It Takes Two” is beautifully enhanced by excellent lighting. Wednesday’s portrayal of Penny is excessively dorky, and her voice is remarkable, particularly in “Mama I’m A Big Girl Now”.

Seaweed, played by young Joshua Davis, is one of the show’s most exciting discoveries. For his first time stepping out of junior theatre, he's unbelievably cool, groovy, and confident. He breezes through “Run and Tell That” with suave ease. Shoutout to Little Inez (AvaLyn Doherty) and Gilbert (Johnathan Vongdara) — always fully engaged, dancing with passion, and totally enjoying the moment.

Rudo Banya doesn’t arrive as Motormouth Maybelle until later in Act 1, but when she does, the whole room lifts. Making her grand entrance into the world of musicals, her rendition of "Big, Blonde and Beautiful" was such a blast that I wanted to sing along too! And “I Know Where I’ve Been” was a total showstopper, lifted higher by the gorgeous ensemble vocals.

Jason Kiger and Steve Beck are perfect as the daggy Turnblad parents. Traditionally, a guy plays Edna, and Jason brings the sass, hilarity, and rocks that v-neck dress with some seriously epic fake cleavage. I was honestly worried they might accidentally pop out at one point! Steve Beck is the ideal match as Wilbur. Their duet “You’re Timeless to Me” is packed with humour, terrific vocals, and just the right touch of cheeky chemistry.

As the villains go, Liana Hanson’s Velma von Tussle is perfectly detestable — polished cruelty, snappy lines, and a wig-and-dress-suit combo that screams "evil chic." Her vocals in “Miss Baltimore Crabs” are astounding and definitely one of the musical highlights. Jade Plaistow as Amber goes all in on a high-pitched, Tour-Guide-Barbie persona. Her slightly doll-like movements fit the character choice perfectly. Whether or not the character choice is your cup of tea, you have to admire Jade's strong commitment.

Lachlan Gleadhill, playing Corny Collins, makes an impressive debut. With a stunning voice and charisma, I believe he has the potential to bring even more to the character! Gabriel King perfectly embodies Mr. Spritzer with his game-show-host grin and voice, fully embracing the character.

Choreography in Hairspray is no small task, and Julianne Burke has clearly worked hard to shape a cohesive world for such a large ensemble. “The Madison” is a particularly fun number with dance style switch-ups and a full stage of slick moves. The brief tap break in “The Big Dollhouse” was a welcome surprise that got a great reaction. Just a tiny tip for “It Takes Two”: remember that even though the spotlight is on Nicholas, audience members can see where your eyes go, so keep your adoration locked in on him! “Nicest Kids in Town” is strong and could be even more so. This show thrives on excess, and you simply cannot be "too much" in this number! Eighteen musicians, led with precision by Nicky Griffith, fill the room with that irresistible sixties pop sparkle (shoutout to the horns especially for that extra punch!)

There are small moments where the pace dips or dialogue lags, but these feel like natural opening-week tweaks. There is a touch of upstaging from a few actors, though not in a way that derails scenes. It’s the kind of enthusiastic energy that naturally happens in large amateur ensembles and would be less noticeable if the whole cast matched that energy intensity. Some costumes look slightly ill-fitting and may affect performer comfort, but the overall aesthetic is colourful, bright and very sixties: colourful skirts, high hair, and groovy silhouettes. The lighting complements the colourful costuming, retro vibe and the sixties-TV-style backdrops, and there are some fun set pieces and effects sprinkled throughout.

“You Can’t Stop the Beat” is notorious for being one of the hardest finales in musical theatre because it never stops and barely allows a breath, but this cast powers through with big smiles and bigger stamina. The entire ensemble throws themselves into it, but Nicholas in his dazzling jacket, gives more energy than anyone out there and absolutely owns the final moments.

Overall, this is a big-hearted, enthusiastic production of Hairspray full of emerging talent, strong vocals, colourful characters and genuine joy. You can feel the love and effort behind it. With a few polish points it will soar even higher, but as it stands, Queensland Musical Theatre offers a vibrant, fun night out that celebrates community, inclusivity, and the huge spirit of Hairspray.