It’s Baltimore 1962. Blacks and whites are divided by issues more subtle than just skin color. Beauty is defined by dress size. And one teen with gumption decides to change the world — one Wathusi at a time.

I know. It’s “Hairspray.” Just go with it.

The Fine Arts Center’s production of the Tony-winner (which is based on John Waters’ over-the-top film) channels Waters’ knowing whimsy and backs it with strong performances, a smart set by Lex Liang, Victor Ayer’s flashy choreography and an orchestra, led by Roberta Jacyshyn, that long ago made its bones.

If only I could have understood what they were singing about.

In it, Tracy Turnblad (Andrea Rutherford) finds herself in the in-crowd when she lands a spot on a dance show in the mold of “American Bandstand.” The “pleasantly plump” teen’s place in this mecca of popular pretty is challenged — as is her drive to integrate the show with her new black friends. A gorgeous guy (Marco Robinson in a long-overdue role as a heartthrob) is involved, of course. And mean girl Amber Von Tussle (Lacey Connell) does her utmost to maintain sorority standards.

Director Scott RC Levy and his team do a nice job of showcasing the best of a musical grounded in spectacle. Kudos, too, to the FAC for choosing a work featuring such a diverse cast. After TheatreWorks’ 2012 production of “Joe Turner’s Come and Gone,” I’m hopeful that it’s the beginning of a communitywide trend.

Rutherford’s Tracy was just about perfect: determined and naive and ready to take on the world. Although her dancing wasn’t always on point, her vocal range seemed good: I suspect that sound problems sometimes created harshness in her upper range.

Robinson played Tracy’s unlikely paramour, Link Larkin, with flair and emotional believability. Lynne Hastings was a soulful Motormouth Maybelle, the other side of the track’s most popular DJ. Both consistently managed to thwart the sound issues with clearly delivered — and beautifully rendered — lyrics.

Drew Frady played Tracy’s mother Edna. While “Hairspray” is Tracy’s show, the over-the-top Edna, which was intended to be played by men, is one of the biggest draws to the musical. Sadly, Frady never seemed to fill out the monumental mom or revel in the wonderful contradictions of the part.

There’s a lot of good in “Hairspray,” but there were a few issues.

“John Waters” is practically synonymous with “outrageous.” While Liang’s sets fulfilled that promise, his costumes and wigs often lacked theatricality. For instance: although we’re told Tracy’s highly teased hair lands her in detention, our Tracy’s hair barely has liftoff.

Finally, the sound. Too often the cast and this excellent orchestra competed for preeminence, especially in the first act. And these lyrics were just plain lost in the battle, the FAC’s problematic sound system or inconsistent enunciation. Which made for a less-than-satisfying overall experience.

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