Those of us old enough to remember responded to the reference to the TV test pattern colours on the 6 rear lit TV type screens rising from floor to ceiling both sides of the stage on the set of Metropolitan Players production of HAIRSPRAY. The colours of these screens changed with different scenes, complimenting and supporting settings for lounge rooms, school, the set of the Corny Collins Show, Motormouth Maybelle’s Record Shop, jail, Har-De-Har Hut and so many other spaces and places in a dizzy quick change magician wand type changeover of doors, glimmer curtains and cartoon places that one would have to see the show several times just to work it all out.

The whole feel was bright, colourful and something out of a pink, yellow and blue cartoon book of the early 60’s. Every seamless set change brought in another dynamic and engaging scene full of fabulous dresses, amazing hair, smart, snappy choreography and essentially two dimensional but totally perfect characterisations.

Metropolitan Players have been delivering big scale musicals in Newcastle for eons and have maintained their reputation for quality productions with HAIRSPRAY. This musical was first produced in 2002 but set in 1962. The attitudes and beliefs of people from the 1960’s towards people of difference race, social group or even those carrying a little extra weight, serves as a parable for contemporary society, highlighting the prejudice and discrimination still evident around us. It’s a classic example of coating serious issues in sugar to make them easy to swallow.

Kiani Sansom is perfectly cast as the plump and poor Tracy Turnblad, the teenager who defies social and cultural discrimination to gain a spot on the Corny Collins Show. She rapidly wins over the host, Corny (Luke Carroll), the heart throb, Link Larkin (Callan Purcell) and the general public. Tracy then sets in motion significant changes for herself and many others around her, antagonising the manipulative and scheming producer, Velma Von Tussle (a prowling Melinda Smith) and her spoilt daughter, Amber (Alana Silcock) and landing her family as well as the majority of her new and old friends in jail when she leads an anti-discrimination march against the TV station.

It is a totally uplifting show. The anti-discrimination and self-esteem themes are quickly introduced when Tracy and her friend Inez are both initially rejected from the show, Inez because of her skin colour and Tracy her weight. Tracy is also frequently in detention because of her huge teased hairdo and there she meets Seaweed (Joshua Davies) Inez’s brother, who teaches her the dance that lands her a role in the show. Seaweed also falls for Tracy’s friend, the delightfully bumbling Penny (Juliette Coates). After an altercation with Amber and her cronies during a school Dodge Ball game, Seaweed takes them home to Motormouth Maybelle’s Record Shop and that’s when Tracy decides to lead an anti-discrimination march against the station.

The role of Tracy’s supportive and loving mother, Edna Turnblad, is intended to be played by a man, but not as a drag role and in this production was sensitively and gently presented by Malcolm Young. Edna’s ever expanding girth has kept her housebound for years, but Tracy wields her magic here as well and convinces her mother to be her agent and entices her out, accompanied by the rousing Welcome to the Sixties. Another superb and uplifting moment full of messages of self-esteem was the tender scene between Edna and her devoted husband, Wilbur (Ian Crouch) when he sings You’re Timeless to Me, complete with a curtain of silver descending in the background.

The songs were all masterfully presented by the infectiously energetic and highly talented cast, supported by a 17 piece orchestra led by experienced musical director, Chris Vidler. The stand out however, was Annie Devine as Motormouth Maybelle, delivering her goose-bump raising renditions of Big, Blonde and Beautiful and I Know Where I’ve Been. The choreography by Kirby-Leigh Coker and Lauren Handsaker was slick, fast paced, tight and made great references to the dance moves from the era while the costumes, hair and makeup were a visual feast. My lame attempt to dress appropriately for the show paled in poor comparison to the opulence of flounces in the dresses, wigs and accessories coordinated by Bev Fewins, Valmai Drury and George Francis.

The whole ensemble enthusiastically supported the energy and style of the show with some bringing genuine individual moments of characterisation, warmth and humour to the scenes.

One wondered how Metropolitan Players could match the standard of 2013 when they presented a magnificent production of The Phantom of the Opera, yet they have. This is a very different style of show from The Phantom, but director Julie Black, her set designer’s Graeme Black and Donna Nipperess and lighting designer Jacob Harwood have brought to Newcastle Civic Theatre another show with professional standard production qualities; a show so slick, fast paced, colourful, emotional and brilliant that I was reeling with delight by the end of it and wishing that I could see it again and again in order to take it all in.

It won’t matter what era you were born in or how old you are, you will love this show.

The remaining performances of HAIRSPRAY at the Civic Theatre, Newcastle are on Friday 22nd August at 8pm, and Saturday 23rd August at 2pm and 8pm. Bookings 49291977

For more about HAIRSPRAY The Broadway Musical, visit http://metropolitanplayers.com.au