The first theatre to open in Shaftesbury Avenue on 20 Oct 1888. The original theatre was destroyed by bombs in 1941. A second theatre opened 26 Dec 1911 (originally the Prince's), badly damaged in 1940/41. Changed name to Shaftesbury in 1963. Housed the famous Hair performances in 1968. 1404 seats. Member of the Society of London Theatre.
Hairspray tells the story of geeky teen Tracy Turnblad - a big girl with a big heart, big dreams, a big stage mother and even bigger hair - who finds celebrity on TV dance programme. Can Tracy get the guy and still have time to change the world?
The award-winning hit musical, Hairspray, opened at the Shaftesbury Theatre last night (30 October, previews from 11 October) starring Michael Ball (pictured) and Leanne Jones as Edna Turnblad and her daughter Tracy Turnblad respectively (See WOS TV, 30 Oct 2007). The production is currently booking to 15 March 2008.
Hairspray premiered in August 2002 at Broadway’s Neil Simon Theater, where it’s still running, going on to win eight 2003 Tony Awards, including Best Musical. Based on John Waters' cult retro 1988 film and set in 1960s Baltimore, it tells the story of geeky overweight teen Tracy, who finds celebrity on a TV dance programme. Can she get the guy and still have time to change the world?
It’s official! A critical hit for the Shaftesbury! Hairspray well and truly won over the first night critics yesterday as they welcomed the show that is “ecstatic” and “riotous”. Special praise was thrown on Michael Ball who was “deliciously fattened up and dragged down”, but newcomer Leanne Jones also caught the critic’s attention “with a talent as high and wide as her scooped-up hair”. Marc Shaiman and Scott Wittman didn’t escape the cascade of praise as their music and lyrics were commended for pulsating “with musical excitement as well as political anger”. The hit that has eluded the Shaftsbury for so long looks to have arrived as the audience glimpse what the critics consider is a truly entertaining production.
Michael Coveney on Whatsonstage.com (four stars) - “The ecstatic choreography of Jerry Mitchell combines with the delightful, primary-coloured costumes of Broadway veteran William Ivey Long to create a riotous scene at the oversize shop where mother and daughter are kitted out in style and the resident mannequins include a Supremes tribute trio. Director Jack O’Brien has tapped adventurously into the British talent pool, not only in giving the richly voiced Michael Ball a role to relish, but teaming him with the wonderfully rumpled Mel Smith as the toyshop owner husband – he brings a battered vaudevillian charm to their “Timeless to Me” duet – as well as discovering the powerhouse talent of Leanne Jones as Tracy. Tracie Bennett makes a good impression, too, as the vampiric television producer, and Elinor Collett and Adrian Hansel are a dynamic duo on the dance floor where the beat you can’t stop erases the social divide. This is indeed a rare thing: a totally daffy and delightful musical where the serious issues are as good for you as a big stick of pink candyfloss.”
Michael Billington in the Guardian (four stars) – “Where the show really scores is in its ability to integrate serious issues into a lightweight plot. Jerry Mitchell's joyous choreography is the beating heart of the show. There is something dionysiac about it; and, if the show achieves the ecstasy one looks for in a musical, it comes largely through the dance routines. But the performances, in Jack O'Brien's deliciously fluid production, underline the show's basic benevolence. Leanne Jones is a remarkable Tracy with a talent as high and wide as her scooped-up hair. She puts across Marc Shaiman's numbers with belting brio. And Michael Ball is very funny as her muscular moll of a mum who once entertained dreams of being a designer. "I thought I was going to be the biggest thing in brassieres," Ball announces in gravel-voiced tones. What makes him so good is that he reminds us that heftiness is not incompatible with haute couture. Mel Smith, as Tracy's joke-retailing dad, seems underemployed until he joins Ball in a front-cloth duo.”
Charles Spencer in the Daily Telegraph - “If you are up for a good time, however, and especially if you are a teenage girl who has just downed a couple of alcopops, it will strike you as heaven on earth. You will laugh, you will scream, you might even shed a sentimental tear or two. I even managed to make quite a night of it myself, and I'm male and middle-aged, as the National Theatre boss, Nicholas Hytner, is fond of pointing out … A superb pop score by Marc Shaiman and Scott Wittman, which gloriously captures the sounds of pop before the arrival of the Beatles – girl groups, rock and roll, rhythm and blues and an amazing gospel number that almost lifts the roof off the theatre … Director Jack O'Brien ensures that sentiment and laughter are mixed in just the right proportions in a show that offers a sugar-rush of pleasure … I saw Hairspray at the final preview rather than the press night, and the audience's whooping response and spontaneous standing ovation suggest it could prove to be the big hit that has eluded the Shaftesbury for so long.”
Nicholas de Jongh in the Evening Standard (four stars) – “It comes at us in rare musical parts: the first part is low-camp satire and burlesque: Michael Ball deliciously fattened up and dragged down in bland frocks and lurid gowns, majestically slips into the role of the fat, foghorned laundress, Edna Turnblad ... It is through Jones's endearingly earnest Tracy, who dances with a lightness belying her size, that links between love, comedy and radical politicsare forged … Marc Shaiman's urgent score, with clever, often witty lyrics written with Scott Whitman, keeps Hairspray pulsating with musical excitement as well as political anger. And Leanne Jones, as smitten, adolescent lover and Miss Teenage Hairspray, effortlessly commands the stage. She will hearten all actresses who imagine that only the pencil-thin can inherit the lead dressing room.”
Simon Edge in the Daily Express (five stars) - "Tracy herself is played by newcomer Leanne Jones, on stage for most of the night as the compulsive dancer whose natural padding cannot spoil her lust for life – or for Link. It’s an impressive, exuberant performance and you can see why the director says she was instantly right for the role. She is well supported by a large cast, including fellow newcomer Ben James-Ellis – a semi-finalist in TV’s Any Dream Will Do – as Link; the ever-wonderful Tracie Bennett as the vicious Velma Von Tussle; a gob-smacking Johnnie Fiori as the black record shop-owner Motormouth Maybelle; and the rubber-faced Mel Smith as Tracy’s salt-of-the-earth dad Wilbur. But the stand-out turn is Ball, scarcely recognisable in the drag role as Tracy’s mother Edna, complete with 54EEE bust … Don’t expect fancy effects or clever spectacle. This is good, honest song-and-dance fun, where the riot of period pastels in the costumes and sets matches the relentless up-beat of the lyrics and tunes. “Prepare for something big!” say the posters: “Big musical, big comedy, big hair!” But the biggest thing about it, apart from Michael Ball’s falsies, is its heart."
Benedict Nightingale in the Times (four stars) “The musical is as delightful as I recall it being on Broadway three years ago and more immediate than it could ever be in the cinema. True, the tale of chubby, chunky Tracy Turnblad, who wears what looks like a lacquered wolverine on her head and thinks she resembles Jackie Kennedy, is unashamedly and, at times, absurdly sentimental. But when Leanne Jones’ Tracy is bounding about the stage exuding all-American resilience and optimism — well, she brought out the inner cheerleader I didn’t know I had … Mark O’Donnell and Thomas Meehan’s book is a salute to difference. That’s defined both as being fat, like Jones’s Tracy or Michael Ball as her gloriously bloated mother, and, more seriously, as being black in racially divided Maryland. So our heroine’s aim isn’t only to do well on the dance floor, beating her plastic-doll schoolmate Amber, but to integrate Corny Collins’s show, besting Amber’s ruthlessly ambitious, racially bigoted mother, Velma.”
It is hard to credit that some preview punters failed to recognise Michael Ball as Edna Turnblad in Hairspray at the Shaftesbury Theatre. Sure, he’s wearing dress and looks a few kilos overweight, but there’s no undue effeminacy in his performance, and none of the savage grotesquerie Harvey Fierstein brought to the role on Broadway, or the plasticized timorousness of John Travolta in the recent film of the musical.
Although that film is a brilliant translation of the stage musical (and a far cry from the art house, rackety ebullience of the John Waters 1988 original cult movie), the stage show is the real business in its hymn to racial integration in downtown Baltimore circa 1962, and its suddenly politically incorrect celebration of triumph in obesity.
A cynic might reflect that the Broadway version, now in its fifth fatty year, is a hit because it makes the New York audiences of out-of-towners – who get more obese by the minute – feel better, or at least not so bad, about themselves. But in the story of fat kid Tracy Turnblad, hooked on a local television talent show and bent on becoming Miss Teenage Hairspray, there is also a sense of a community, and indeed a nation, on the brink.
This is the brief interregnum of the Kennedy era. Even Edna “has a dream,” if only one of breaking out of her home laundry business into extra large haute couture. The brilliance of Marc Shaiman’s pop and blues score – not even half marks for originality, many for witty pastiche – is to capture this transitional period in music, too, as teenagers find their voices and protest songs seem like a good idea.
The show is also a cultural metaphor as Corny Collins’s television studio is invaded by Tracy’s new friends cross the line from detention class, exploding into the limelight with snake-hipped dance routines and unambiguously sexy gyrations.
And the ecstatic choreography of Jerry Mitchell combines with the delightful, primary-coloured costumes of Broadway veteran William Ivey Long to create a riotous scene at the oversize shop where mother and daughter are kitted out in style and the resident mannequins include a Supremes tribute trio.
Director Jack O’Brien has tapped adventurously into the British talent pool, not only in giving the richly voiced Michael Ball a role to relish, but teaming him with the wonderfully rumpled Mel Smith as the toyshop owner husband – he brings a battered vaudevillian charm to their “Timeless to Me” duet – as well as discovering the powerhouse talent of Leanne Jones as Tracy.
Tracie Bennett makes a good impression, too, as the vampiric television producer, and Elinor Collett and Adrian Hansel are a dynamic duo on the dance floor where the beat you can’t stop erases the social divide. This is indeed a rare thing: a totally daffy and delightful musical where the serious issues are as good for you as a big stick of pink candyfloss.
We planned for 9 of us to see this show as a pre-christmas treat last weekend and were really looking forward to it. Then the week before I saw the cast including Phil Jupitus on Strictly come dancing and I must say I and my friends were not very impressed with his performance as Edna. However when we went to see the show not only was it riotously superb fun but we were lucky enough to see a performance which included Phil Jupitus' stand-in Chris Howell. I don't know why west end shows feel that the way to go is to put a tv star into roles to sell tickets when you have such talent available, this guys Edna was absolutely fantastic and he thoroughly deserved the resounding standing ovation he received. Well done that man! Chloe Hart as Tracy was simply amazing and the energy that goes into all the performances is something else! We really could not fault a great day out and recommend this show to all - and whilst I know Phil Jupitus is the headline act (AKA box office draw) if you want to see a great performance try to get a ticket when his stand in, Chris Howell is performing. Belinda Carlisle wasn't bad either! - Norman
21 Dec 09
Hilarious. It's funny like the origional John Waters movie is funny... not like the dire remake film of the musical... with that scientology person in it.. I was really apprehensive about seeing HAIRSPRAY live because of THAT film, however, the stage version is charming and funny.. and it did have Tracey Bennett in it when i saw it. genius. - Cassox
05 Nov 09
After the disappointment of Priscilla it was great to return to the wonderful Hairspray for the first time for over a year and to find it still in great form. There was a slight suspicion that some of the featured men are on cruise control, but all the newcomers (new to me anyway) are at least as good as the originals. It's great to see Zoe Rainey in a major role after serving her time in ensembles and her Donmar pedigree shows as a brilliantly acted Amber. Sandra Marvin nearly took the roof off with an astonishing I Know Where I've Been and even Nigel Planer brought charm to the under-written Wilbur. Charlotte Riby was on for Leanne Jones as Tracy and it was soon obvious that she is far better than most understudies. Despite some distractingly over-dark make-up she is a brilliant Tracy and one with a more soulful voice than Leanne Jones. Of course Michael Ball is still in place and it is astonishing that after well over 500 performances he is still as fresh and enthusistic as ever - Timeless to Me was probably the best I've seen it. Of course Michael Ball is leaving soon but surely Hairspray is such a great show that it will continue to thrive after his departure. - David Baxter
04 Jun 09
I was very disappointed. We went on 11th April and I just didn't enjoy it -maybe I was expecting too much. At the beginning of the first half we couldn't hear the words - the balance with the music was all wrong - I can't understand that when it's been on there for so long. Added to that I just didn't enjoy the story or the songs. I did think the cast were excellent - though wasted on this particular show. We had excellent seats - row M of the stalls - with a walkway in front of us. Thank goodness because the theatre was incredibly hot and if I'd had people closer I might have keeled over. - Deb
21 Apr 09
I saw this on 26th march, matinee. Charlotte Riby was amazing as tracey, so charismatic and funny. Michael Ball is the star of the show and he was amazing as Edna - he makes a very good woman lol. Nigel Planer was very good as wilbur and is well suited to the role. one name that sticks out though is: Sandra Marvin OMG this woman is phenomenal as Motormouth Maybelle. she really belted out I know where i've been and held on to the notes for so long, with such power, i thought she was gunna collapse. i cant believe how good she was. the understudy for velma von tussle was a bit weak but she did ok. I was also impressed with the understudy for Link, Michael Vinsen. I have seen both hm and Ben and while i think Ben is good at the role,michael is slightly better at the acting part. all the cast were fab and i loved sitting on the front row. I was dancing away and i just think this show is awesome. GO and see it! - Kirsty
30 Mar 09
amazing ben ellis from my hometown of scarborough went with my drama group love mr ball to he minted loved every bit 100/10 lol - craig barker
15 Oct 08
It's not suprising that Hairspray has won 27 awards, it was without doubt the best show I have seen in a long time.
The cast were sensational, and the staging first class.
He probably won't thank me for saying it, but this is probably Michael Ball's finest moment. I have seen him in everything from the Pirates of Penzance to Chitty Chitty Bang Bang, but in Hairspray his performace eclipses all his previous ones.
Leanne Jones is an absolute star in the making, she is such a find.
The rest of the cast are excellent too, but a special shout out has to go to Johnnie Fiori as Motormouth Mabelle. She could give Queen Latifah a run for her money.
This is the best night out in the West End right now, and is definately a must see show!!!
* * * * *
The only negative .. NO blooming leg room!!!! - Daniel
08 Aug 08
wow...just wow...normally I doubt musicals deserve the hype but this was amazing. The performances were simply superb and the material is fantastic. We didn't even have Michael Ball but Adam Price was so amazing it didn't matter...just wow...I'm still speechless! - AA
07 Jul 08
From our mountainous seat in the upper circle a the Shaftsbury Theatre on Saturday the 24th May 2008, which we were sold as unrestricted regardless of the fact I had a row of handrails blocking my view of centre stage, I expected my experience of Hairspray to be spoiled.
I couldn’t of been more wrong, however. Leanne Jones as Tracy Turnblad belted open the show with the catchy “Good Morning Baltimore” and I was tapping my fingers and miming along before the first verse had ended.
My expectations of Hairspray had been high. Following the success of the 2007 movie and the number of raving reviews I had read about this newly revived musical, the show had a lot to live up to. I needn’t have worried.
Three actors in particular stood out for me. Michael Ball, of course, fulfilled every expectation. His portrayal of Edna Turnblad was a far cry from his previous leading man status but what a performance he gave. With plenty of humour added, some obviously improvised, he played a convincing mother and wife, his apparent enjoyment of the role shining through. This was especially the case during the duet “You’re Timeless to Me” with Ian Talbot as Wilbur Turnblad. The pair ended the song doubled up, Talbot trying to hide his laughter by burying his face into Ball’s back as he tried to compose himself.
I mentioned this to Michael Ball when I met him after the show. “I know”, he grinned with that familiar boyish smile, “ This much fun just shouldn’t be allowed to be called work should it?” Hmm I wish mine was a quarter as much!
The second, and perhaps often overlooked ,performance for me was that of Elinor Collett as Tracy’s loyal and slightly loopy friend Penny Pingleton. The role is a hard one. In the dance scenes her every step moves in the opposite direction of the other dancers, her stances are always at uncomfortable angles and Collett maintained this brilliantly. When all eyes were on the main characters I found myself watching her expressions and poses as she really completed the character and brought Penny to life.
However, for me, one person shone in the whole performance and that was Johnnie Fiori as tv host Motormouth Maybelle. Fiori’s portrayal was everything the character should be, voluptuous, sassy, passionate and with an incredible voice. Her rendition of “I know where I’ve been” filled me with emotion, not only for the familiar, meaningful lyrics but from the tremendous power of her sensational voice.
Hairspray deserves its success - everyone on stage gave an energetic and inspiring performance, from Leanne Jones as Tracy and Ben James-Ellis as heartthrob Link Larkin, handsome Adrian Hansel as the oddly named Seaweed and Tracie Bennett as bitter TV producer Velma Von Tussle to all the ensemble.
After the show, I asked Michael Ball if he had any comments for me and he answered, “Only one. I hope that the amazing success and popularity the show has had so far continues and that the show goes on for a long time.”
A round of applause to that. “You can try and stop my dancin’ feet. But I just cannot keep still”
- Melissa Roberts
10 Jun 08
a very jolley day out at the theatre.strong cast despite the presence of four understudies. thankfully neither michael ball or the superb tracy bennett were amongst these.michael ball was brilliant but felt his amazing singing voice was somewhat wasted inthis part.was very disapointed not to see leanne jones but charlotte riby was very good. ben james ellis was very good as link larkin, full of energy and bags of stage presence.one of the best vocal performances of the night in my opinion was by the lady who played motormouth.overall did not enjoy it as much as i expected to but a great performance none the less.re-submitting with 4 stars as i think it deserves more than 3 but not really quite 4. - mf
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