The Cast Photo by Jessica Palopoli

The musical itself is fast becoming a classic, with dozens of productions being staged across the country. This popularity is due in part to some terrific songs–"Good Morning, Baltimore," "Welcome to the 60's," "Run and Tell That," "I Know Where I've Been," "You Can't Stop the Beat"–plus a well-constructed book with lots of laughs, and a heartwarming message about body positivity and the stupidity of racism.

The set, by Heather Kenyon, sets a mood that fits the double-edged nature of the show: a surface of fun, cheery music, set against a backdrop of prejudice and bullying. There are several false prosceniums painted in comic book colors with black graphics that echo the upstage backdrop, a depiction of Baltimore row houses. Kenyon also created an array of set pieces that roll in and out to help establish the locations where the story takes place.

The cast seem to be having a ball playing their roles, though some of the voices are a little thin, part of which may be due to a sound mix that favored the (hidden out of sight) orchestra, led by Dave Dobrusky, over the singers. In the opening number, "Good Morning, Baltimore," it is hard to hear Tracy Turnblad (Ella Ruth Francis) sing of how much she loves her hometown. As Tracy, Francis plays her character's boundless optimism to a T. A Baltimore high schooler, Tracy's dream is to dance on local TV's "The Corny Collins Show" and integrate it, making every day "Negro Day," not just the once-a-month chance the villainous producer Velma Von Tussle (Alison Ewing) gives the local Black kids to show their moves. Velma's daughter, Amber (Mackenzie Macdonald), is the star of the show, even though her dance moves don't measure up to the rest of the kids–but that's nepotism for you.

When it's announced that there's an opening on the show for a new dancer, Tracy cuts school and, despite her rather Rubenesque figure, shows enough energy and hot moves to impress Corny Collins (a charming Jeffrey Brian Adams) and is chosen to replace Brenda, one of the "nicest kids in town," who has to take a (wink-wink) nine-month leave of absence. Never one to let an injustice go uncorrected, Tracy decides that–with the help of Seaweed J. Stubbs (Jordan Covington), one of the African-American kids she meets while sentenced to detention, and his mother, local DJ Motormouth Maybelle (Phaedra Tillery-Boughton, subbing for Jeannine Anderson)–she will integrate the show then and there.

As directed by Bill English, the show moves swiftly from scene to scene, with set elements appearing (and disappearing) with a minimum of interruption. Even so, I left feeling the cast–for all their energy–were overselling their roles while underdelivering on their vocals, a mismatch that blunted some of the emotional beats the songs are meant to land.

Some of the problems are technical. The set is lovely, but the proscenium design means a dozen or more seats in the house–including mine–have obstructed views, causing us to miss some onstage business. At the performance I attended, there were also a few glitches with graphic projections that left them out of focus, and the aforementioned mixing problem, which was resolved somewhat in act two. The wigs, by Y. Sharon Peng, however, are wonderful, and perfectly in tune with the early-'60s aesthetic.

Given the reaction from the audience when I saw the show, none of these issues got in the way of a terrific time–they screamed and roared their approval, ending with a standing ovation. I guess when a car gets you where you want to go, that counts for far more than an engine that occasionally misfires, or a few dents in the fender.

Hairspray runs through September 12, 2026, at San Francisco Playhouse, 450 Post Street, San Francisco CA. Shows are Tuesdays-Thursdays at 7:00pm, Fridays and Saturdays at 8:00pm, Wednesdays and Sundays at 2:00pm, and Saturdays at 3:00pm. Tickets range from $52-$145. For tickets and information, please visit www.sfplayhouse.org or call 415-677-9596.