Civic Theatre, Darlington – 28 April 2015
Darlington Operatic Society prove that You Can’t Stop the Beat this week. And this phenomenal production proves there is nothing amateur about it at all.
Set in Baltimore and with the swinging 60s as the backdrop, the story follows teenager-on-a-mission Tracy Turnblad in her quest for integration and equality. After auditioning to star on local television, she becomes something of a celebrity and uses her influence to raise awareness of the segregation ethnic minorities receive on television
Rhiannon Walker is the eager Tracy Turnblad, shines during opening number “Good Morning Baltimore”, and sparkles as she belts her way through. Her Tracy is determined and likeable which, by the end of the show, ensures you are rooting for her. Her enthusiasm and energy allows her to command the stage with ease during “I Can Hear The Bells” and “You Can’t Stop the Beat”.
Ellen Johnson is the perfectly clumsy Penny Pingleton, her comedic attitude making for Tracy’s ideal sidekick and Omar Shade takes the part of Seaweed Stubbs, a dancer who executes Joanne Hand’s choreography to a perfect degree.
The show radiates warmth but its real power is to take the critical issue of racial segregation – John Waters’ original film is based on a real incident on a real TV show, when black and white teenagers in Baltimore stormed a live broadcast – and through comedy to demonstrate its utter absurdity. Prejudice and white superiority is embodied in Velma Von Tussle, gleefully played by Sam Morrison and her equally vile daughter Amber (Karen Stone), Latoya Black takes the place by storm as Motormouth Maybelle, with a voice that can do anything and go anywhere and her talented daughter Inez (Cayanne Roberts) who just wants to dance
Every number in Marc Shaiman and Scott Wittman’s score is a big one, from ‘Good Morning Baltimore’ to the finale, ‘You Can’t Stop the Beat’. Andrew Hamilton is a delight as Edna Turnblad, standing over the ironing board in sensible shoes and dresses that look as though she’s just run them up on her sewing machine. Hamilton has a gravelly voice that can roar and he doesn’t play it like a Dame. He just plays it like a woman.
The number, ‘(You’re) Timeless to Me’, sung in duet with his much shorter ‘husband’ (Neil Harland) is a comic highlight.
The boys did well to thrive amid the girl power. Ben Connor’s Link Larkin, hiding his vulnerability under an Elvis quiff. With Leighton Taylor upping the cheese quotient as gold-suited telly host Corny Collins. But special mention to Hayley Walker as a tap dancing dominatrix prison matron.
Musical director Michael Trotter and his band were never less than superb. The chorus, including those “nicest kids in town”, hit their harmonies beautifully while dancing with perkiness and style.
Supported by a backstage crew responsible for seamlessly staging a complex show – including fabulously vivid costumes and outstanding sound and lighting to match – this was a true team effort.
In Darlington until Saturday 2nd May this show is worth every penny, so get a ticket as soon as possible for this outstanding performance.