Review: HAIRSPRAY at San Francisco Playhouse

What happens when a musical you’ve seen time and time again suddenly feels brand new?

S.F. Playhouse’s Hairspray accomplishes exactly that. Based on the beloved John Waters film and packed with one of the most infectious scores in musical theatre, the show remains a joyful celebration of acceptance, perseverance, and the courage to stand up for what’s right. Nearly two decades after its Broadway debut, Hairspray still reminds us that progress begins with people willing to challenge the status quo—and that sometimes the best way to do it is with a dance break.

Set in 1962 Baltimore, the story follows Tracy Turnblad as she dances her way onto local television while fighting to integrate The Corny Collins Show. While the story is undoubtedly familiar, S.F. Playhouse breathes fresh life into every moment, creating a production that feels vibrant, timely, and bursting with heart. It was like experiencing the show for the very first time all over again.

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Honestly, this production was simply incredible. From the opening number, I found myself completely swept up in its infectious energy. The pacing was razor sharp, the performances were full of life, and the joy radiating from the stage was impossible to resist. I spent the entire evening moving and grooving in my seat, and by the final curtain, my cheeks genuinely hurt from smiling so much.

More than anything, this production reminded me why Hairspray continues to endure. Beneath all the glitter, dancing, and comedy lies a story that still feels incredibly important. It was an honor to sit in an audience celebrating these Black artists and their stories with the joy, respect, and spotlight they deserve.

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Leading the company was Ella Ruth Francis as Tracy Turnblad, and what a delight she was. From the moment she stepped onstage, she radiated warmth, optimism, and boundless energy. Her Tracy was so vivacious and bright that rooting for her came naturally. She captured the character’s unwavering belief that kindness and determination really can change the world.

Mackenzie MacDonald was phenomenal as Amber Von Tussle. I’ve had the pleasure of seeing her perform several times now, and once again she reminded me just how incredibly talented she is. Her comedic instincts were impeccable, and she delivered Amber’s razor-sharp attitude with such confidence that every entrance became a highlight.

Alison Ewing was equally outstanding as Velma Von Tussle. Having seen her in several productions over the years, I can confidently say this may be one of my favorite performances I’ve seen from her. She embraced every deliciously villainous moment while maintaining the sophistication that makes Velma such a memorable antagonist.

And then there was Jeannine Anderson as Motormouth Maybelle. Simply put, she was divine. She brought an extraordinary presence and heart to the role, and when she launched into “I Know Where I’ve Been,” she absolutely took us to church. It was one of those moments where the entire theatre screamed and hurrahed with triumph. 

The ensemble deserves just as much praise. Their energy never wavered, and they filled every inch of the stage with color, personality, and joy. I was also especially impressed by David Boyll, who effortlessly transitioned between Spritzer, Pinky, and Principal; Rebecca Pingree, whose multiple characters were all wonderfully distinct and absolutely hilarious; Samantha Rich, who wonderfully captured Penny's shy, comedically innocent personality; and Suleika Onia Patton, who brought so much heart to Little Inez. Every performer contributed something meaningful to the world of the show. 

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From a production standpoint, S.F. Playhouse delivered across the board. Phoenyx Rose’s choreography was dazzling, packed with energy and precision while beautifully capturing the spirit of the 1960s. Every dance number seemed to raise the bar from the one before it.

Heather Kenyon’s scenic design exploded with color and personality, creating a world that felt every bit as joyful as the characters inhabiting it. Michael Oesch’s lighting design complemented the production beautifully, enhancing both the spectacle and the quieter emotional moments with equal care.

And of course, a huge round of applause goes to the phenomenal orchestra under the musical direction of Dave Dobrusky. This score practically begs audiences to dance, and the band delivered every note with style, power, and infectious enthusiasm.

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