"On Broadway" has four guys in matching tuxedos, with purple jackets and sunglasses, who share the lead vocals. The show-stopping Act 1 finale, "Saved," led by Ms. Grace, is a thrilling, high-octane gospel number, reveling in the heavenly glory, and a big finish.

"Yakity Yak" sensibly and seamlessly flows into "Charlie Brown," since both have a rollicking feel. Ms. King, who co-starred in Circa's "Legally Blonde," reveals tremendous vocal range and drama in "Pearl's a Singer," from belting to sensitively nuanced, and a quiet, reflective end. "Teach Me How to Shimmy" has Ms. Schreckengost dancing in a raised cage, where she makes the most of that small space.

"You're the Boss" is a sultry, bluesy duet between the impressive bass Denzel Edmondson and Ms. Gibson, and "Loving You" is very romantic, with couples dancing. Here, when the mirrored ball at the top spins, throwing lights across the theater, combined with the starry backdrop, it makes a beautiful, magical effect.

"Hound Dog" is one of many highlights, as Ms. Grace wields the song like a whip, threatening Mr. Baez, who crawls on all fours and is woman-handled by the imposing Ms. Grace. She joins her female friends in "I'm a Woman," a defiant feminist anthem, where they assert their independence and it raises the roof.

It's naturally followed by all five men in "There Goes My Baby," in colorful suits, whose hues echo those of the set. Ms. Gibson's "Some Cats Know" is slow, slinky and sultry. Mr. Baez's "Spanish Harlem" and the guys' "Love Potion #9" are insinuating and intoxicating. Mr. Williams stands out in "I Who Have Nothing" with an amazing falsetto, and an impassioned, pleading performance.

The evening ends with perhaps the biggest hits, "Stand By Me," and (after bows) "Jailhouse Rock," which again gets the audience whipped into exhilaration, joyously clapping along, not wanting the night to end.