What this production has going for it, too, is a depth of talent across the board from major to minor roles. Several Good Company veterans offer towering performances, the most notable of whom is Richard Ruth, who gives his version of Edna Turnblad -- traditionally played by a man dressed as a woman -- a spin all his own. There's a hint of Harvey Fierstein there, of course, but what I like so much about Ruth's portrayal is how straight he plays the role (so to speak): no flouncing, no vocal tricks, no mugging. He manages to carve out his own indelible interpretation that (at least in my case) made me for a moment at least forget about the casting gimmick and think of him as a mom.

Other accomplished veterans include Janet Glaude as a vocally powerful Motormouth Maybelle; Steve Pepper as Edna's gentle husband, Wilbur; and such stalwart ensemble members as Erin Luczo, Caitlin Stevenson, Dominic Grijalva, Daniel Rodriguez, Kelsie M. Randle, Lamont Walker and Marc Gonzalez. Camille Gaston, Katrina Steward and Salisha Thomas, as The Dynamites, pep up the performance with their girl-group sound.

There are fresh and exciting GCP newcomers in major roles as well. Jason Munoz is an impressively solid Link Larkin -- a beautiful voice and a strong stage presence -- and Tori Sasso, an absolute cut-up but never too hammy -- a memorable Penny Pingleton. Chente Cervantes, as Seaweed Stubbs, dances and sings with a fresh, fine vigor, and a funny Lilly Dale Murray's Velma Von tussle pushes the comic envelope almost as far as her onstage daughter.

Director Fred Bologna finds clever ways to maximize David Pierce's spiffy set, and Andrea Henrickson's lighting is brisk and cheery, matching the sunny nature of this show. Ginger Kaye Lewis-Reed's costumes are their usual Good Company highlight. Though I'm sometimes leery of sending cast members out into the audience to dance, Bologna -- who co-choreographed the show with Julie Lucido -- does so in a sparing enough fashion here to add real impact, especially when you consider the small size of the stage.

Speaking of the choreography, it's a highlight of the show, of course, with such infectious numbers as "The NIcest Kids in Town," "I Can Hear the Bells" and "You Can't Stop the Beat" pumping up the energy level.

There were some weaknesses. The big relevatory moment in the final scene involving Edna fell very flat. And there were some vocal/sound issues on opening night. Perhaps it was just where I was sitting in the theater, but some voices sounded hollow, especially against the big, booming orchestrations. (This is one of the best recorded scores I've ever heard at Roger Rocka's.) Unfortunately, the opening number, "Good Morning Baltimore," didn't kick off the show with the needed energy because of these vocal/sound issues. Wilkinson, as Tracy, couldn't be heard over some of the score, and this issue trailed her the rest of the evening. I'm not sure if this was a technical concern or if Wilkinson was having vocal problems of her own, but most of her performance lacked the powerful belt she needed.

What Wilkinson lacked in vocal projection, however, she made up for in acting and dancing. I loved the way she shimmied through her role with an attitude that seemed to come this close at times to complete recklessness -- as if she were going to shake her way right off the stage. It's that kind of love for the material that works its way out to the audience -- and makes "Hairspray" as warm and comfy as a big hug.