Barring some sort of colossal creative misfire, awful casting or good old fashioned fatigue wracking the company, some shows seem a sure thing. A dependable time at the theatre that you know, even if not up to platinum standard, will still prove a solid evening’s entertainment.

Hairspray is one such show. Musically, it’s got good bones (or should we say roots?). Mark O’Donnell, Thomas Meehan, Scott Wittman and Marc Shaman’s Olivier and Tony-winning bubblegum adaptation of the John Waters cult classic has a veritable beehive of humour, heart and cracking tunes tucked in its updo.

And yet, even by this comforting metric, this latest touring production of ‘Spray lands with real volume and verve.

For those unfamiliar, Hairspray follows the hijinks of spirited outcast Tracy Turnblad (Alexandra Emmerson-Kirby), who is determined to realise her dreams in 1960s Baltimore of becoming a dancer on her favourite pastime, The Corny Collins tv show. Not least of all in the hopes of catching the attention of the show’s heartthrob lead dancer, Link (Solomon Davy), and righting a few societal wrongs along the way. It’s an ode to individuality, a celebration of acceptance and a cheerleader of diversity. A true feel-good hug of a show.

“…a confident, distinct yet no less colourful beast.”

Landing somewhere between the almost comic book aesthetic of the original West End and touring incarnation and the slightly more muted, retro offerings of the mid 2010 tours, this new outing, designed by Takis and directed by Paul Kerryson and the show’s own alumni, Brenda Edwards, is a confident, distinct yet no less colourful beast.

In addition to looking great, it’s sharply and kinetically directed. Kerryson and Edwards make full use of space, with an admirable amount of action taking place upstage. Bigger numbers and set pieces are alive with movement and interweaving sets of choreography, with Drew McOnie’s work here exciting and tireless. The trio infuse narrative and character beats into places never seen before – see the trio of ‘Dynamites’ (Grace Anyiam, Vanessa Dumatey and Sasha Monique) sassily blocking off the villainous Von Tussle’s during ‘You Can’t Stop The Beat’, or the hilarious, perfectly realised moulding of Davy’s Link into a dead-eyed puppet of sorts during Tracy’s fantasising of ‘I Can Hear The Bells’.

“It’s difficult to remember a production of Hairspray quite so imbued with ideas and invention.”

It’s difficult to remember a production of Hairspray quite so imbued with ideas and invention. All the staples and fan favourite moments are present and accounted for. Yes, of course there’s corpsing during ‘Timeless to Me’. But there’s such a rich infusion of unexpected moments and micro storytelling that it makes almost every corner of the stage an opportunity to witness something fun and new. Edwards, Kerryson and McOnie deserve all the plaudits here.

Plaudits shared, naturally, with a seriously impressive company. Taking the baton of new ideas and running with it, every member of the ensemble, swing and principal cast have clearly invested in fashioning their own versions of what are by now fairly iconic characters. Alexandra Emmerson-Kirby is a perfect Tracy, and whilst the core kindness and essence of the character shines through, she manages to carve out a lip-quivering, comedically hilarious, occasionally roaring Turnblad ingenue all of her own. The same goes for seriously impressive supporting turns from Freya McMahon as quirky, eccentric bestie, Penny, and Allana Taylor as bitchy love rival, Amber Von Tussle. All three are exquisite, and in fine voice to boot, with early team up ‘Mama I’m A Big Girl Now’ just tremendous.

Also impressing is the object of their affections, Solomon Davy, who is outstanding throughout, seemingly plucked straight from the era as poster boy, Link. With boundless energy, smooth vocals and effortless charisma and moves, Davy delivers what is comfortably the best Larkin to date, and establishes himself as a major musical theatre talent to watch, after this and recent notable turns in Clueless and Grease.

But carry on through the cast and you stumble upon similar standards of best-yets. Joanne Clifton chews up every inch of the scenery in the best possible way as villainous producer and former pageant queen, Velma, whilst Michelle Ndegwa brings a venerable dignity and soulful calm to her Maybelle. Neil Hurst is clearly having a ball as Edna, and the audience along with him, getting laughs to spare as a sublime Dermot Canavan bounces off of him (at times quite literally) as Turnblad patriarch, Wilbur. Kirsty Sparks and Stuart Hickey pop up throughout and are terrific fun in a variety of bit parts.

“Davy delivers what is comfortably the best Larkin to date… but carry on through the cast and you stumble upon similar standards of best-yets.”

Like any respected ‘do, Hairspray occasionally needs a bit of lift and a touch of help to be at its full height and glory. This vibrant, kinetic and joyous production delivers precisely that. It is held and coiffed by a team of creatives who find new threads to pluck on, and new ways to tickle the funny bone whilst never shying from the heartier cause at its core. When Ndegwa reaches the rousing crescendo of the anthemic ‘I Know Where I’ve Been’, the digital backdrop itself sings with images from the civil rights movement, and profiles and persons including Dr. King, Rosa Parks and Malcolm X. It’s a sign of the confidence and uniqueness of this iteration of Hairspray that this registers with purpose and impact where it could easily have felt laden. And of course, all poignantly underpinned by terrible recent news regarding one of its own company.

But speaking of its company, the joyous, high-energy cast, stuffed with a whole host of best takes to date on its lovable, colourful cast of characters, prove the perfect setting agent.

Full volume, maximum bounce and looking and sounding better than ever, Hairspray is a can full of pure, unadulterated joy, and a must-see from root to rapturous, feel-good finish.

AUTHOR’S NOTE: It would be remiss to publish a review of ‘Hairspray’ and not take a moment to send our sincerest condolences and well wishes to cast member, Reece Richards, given recent events.

The message of Tracy Turnblad and ‘Hairspray’ is one of defying oppressive figures of authority, of championing parity of rights and freedoms, and to stare down and challenge the ugly face of institutionalised or normalised bigotry and racism. We wholeheartedly condemn those who treated Mr Richards in such a deplorable fashion, and send our love and thoughts to him and all those affected by his or similar stories.

Art such as ‘Hairspray’ can be a powerful and cathartic reminder of the wrongs of our world, and the courage needed to face and challenge them. As Motormouth Maybelle memorably sings:

“There’s a dream in the future…

There’s a struggle that we have yet to win…”