When Ken Ludwig penned this revision of their work based on the 1931 musical Girl Crazy in 1992, it won a Tony, reconnecting the American musical to its glorious roots of yesteryear. While the newer version adds many more Gershwin tunes and allows for updated language and scenarios (a lot of '30s humor just isn't considered funny or appropriate these days), the lyrics and the songs remain the same - and the sense of '30s glamour. The whole show, from setting to performance, is colored by the high-glam, over-the-top feel of musicals of yore.

What better place to house such a show than the historic Opera House? Although the Opera House needs no help sustaining ambiance, its technical facilities are perfect for an unabashedly grandiose show. In other words, set designer David Steinmetz really gets to flex his design talents and take full use of all of the technical bells and whistles the Opera House provides. From a New York cityscape to a re-creation of the quiet Western town of Deadrock, Nev., bicoastal, sweeping scene changes shift with seamless bravado.

Another nod to the heyday of musicals is Diana Evans and Lisa Dykes' intricate, energetic and fluid choreography, from small numbers like Bobby and Polly's Embraceable You duet to the stage-sprawling, toe-tapping numbers like I Got Rhythm.

Add Anita Shirar's dazzling array of costumes and you've got one visually sumptuous feast. The ensemble's sharp, confident execution of the choreography fuels the non-stop momentum of the show. Their synchronized tap-dancing is particularly impressive.

So they can dance, but can they sing? And then some. Director Bo List has really found the total package in lead talents K.J. Hippensteel (as Bobby Child) and Marina Jurica (as Polly Baker). Hippensteel's dancing seems second nature, and the vocal delivery of his lyrics is pitch-perfectly in line with his character. Jurica is one of the most refreshing faces I've seen on the stage in recent memory. While her voice is simply stunning in both clarity and emotion, it is her acting that stands apart as particularly accomplished. Among the many cast members, she stands out as a commanding stage presence and is a joy to watch.

Music director Ryan Shirar's orchestra is splendid, but a few opening night quirks of uneven sound need to be worked out. Overall, this production is an ambitious undertaking that doesn't collapse under the weight of the task - a feat that is impressive for any established theater company, let alone one that is continuing to grow, as Paragon is.

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