Review: Hairspray

HAIRSPRAY RECEIVED A STANDING OVATION

The American creators of Hairspray who arrived also praised the Finnish version

The premiere of the new musical at the Helsinki City Theatre on Saturday was a thrilling success. While the last cymbal was still playing, the crowd jumped to their feet and applauded like a storm in the stadium.
However, the greatest praise was offered by the composer of the musical, Marc Shaiman. He had come to watch the first premiere of Hairspray outside the United States.
“I enjoyed the performance so much that sometimes I forgot that I had written it myself,” said the composer, who has been nominated for an Oscar five times.

Hairspray is a story about a fat girl and a handsome boy, tuned for pure entertainment. The whole thing is somewhat reminiscent of the musical Grease, which means that the two-and-a-half-hour evening consists more of a swinging 1960s potpourri than a dense drama.
The original Broadway performer of the lead role, Marissa Janet Winokur , summed up the essence of the matter.
–Hairspray can teach you some things about life, and yes, there is a message in it, but they are only side issues. The main thing is guaranteed good times,” the American star laughed.

Amazing backcombing

Hairspray is an excellent mediocre musical. So not excellently mediocre, but excellent and mediocre.
It is mediocre compared to the great classics of the industry, such as Les Miserables. This time, there is no soul-cramping drama or immortal tunes. The plot has a hint of equality and inner beauty, but only to spice things up.
However, mediocrity is intentional. Hairspray is specifically tousled as a party hairstyle for a cheerful woman, where the more serious elements are only in the role of hairspray.
As a party hairstyle, it’s top-notch! Finland has hardly seen such a heartfelt musical atmosphere before. The orchestra roasts its lips with blood, the drummer degenerates into an animal, and the stage is filled with singers dancing with unbridled energy.
Most importantly, nothing is left in reserve. Every muscle cell is thrown into play and every alveoli is squeezed empty. Georg Malvius, who previously directed Miss Saigon, has made the whole crew wake up to the real joy of performing.
Individual performances are at the level of gold medals, and there are a huge number of them. Katja Aakkula shines as the chubby protagonist, and in the male lead, Mikko Leppilampi would become a star if he weren’t already. Mikko Kivinen and Pertti Koivula, who play an old married couple, are fantastic. You read that right. Gary Revel Jr. is once again doing a breathtaking job for female viewers.
The art of throwing oneself has now been learned from America, but there is still room for improvement. There was too much leeway in the premiere, so a significant part of Mikko Koivusalo’s fine translation was lost in hasty chatter. The sound of the music lacked softness, which took its toll on the very heartbeat that the performers poured into their microphones.
Americans know how to throw themselves straight and with their toes extended, but I guess the top gang of the Helsinki City Theatre will soon learn that skill as well.