As Tess V. Davison ’16 trills in the closing number, “Wonderful Town” is love at first sight. It’s difficult to determine which aspect of the performance best captures its vivacity. Is it the neon-clad prostitutes or the Brazilian Navy shimmying to the conga? Is it the nearly bursting bosom of the cantankerous old mother played by Justin S. Pereira ’13, an actor who often dons female garb with the Hasty Pudding? Maybe it’s the exaggerated jazz hands of the nightclub owner, or the painfully awkward Walgreens grocer, or even the Irish jail guards. Or perhaps it’s the harmony of lead actresses Elizabeth K. Leimkuhler ’15 and Davison. “Wonderful Town,” directed by Susanna B. Wolk ’14 and playing at the Loeb Mainstage through Saturday, boasts a cast of talented actors and singers who breathe new life and laughter into an old, classic show through remarkably convincing performances.

From the beginning, the play leaves behind a drab and impersonal New York City and instead ushers in the bright and bustling Christopher Street, a colorful set designed by Madi L. Taylor ’16 that becomes home to struggling artists and ex-footballers alike. All of the inhabitants of Christopher Street appear to be straight out of an American Apparel ad, some with brightly colored tutus and sharply contrasting tights. Costume designers Anne A. Power ’16 and Kyra A. Atekwana ’14 present a whirlwind of color that both overwhelms and entices, all the way down to the teal socks that compliment the powder blue suit of nightclub owner Speedy Valenti (Mark J. Mauriello ’15). Sisters Ruth (Leimkuhler) and Eileen (Davison), two small-town girls from Ohio following their dreams to stardom, find themselves pulled into this rainbow-hued bohemian paradise. But their first night on Christopher Street is anything but calm as they face hecklers who mistake them for prostitutes. The musical follows their journey through auditions and romance as they struggle to stand on their own two feet, often literally, in the Big Apple.

While the witty lyrics give the musical its substance, the actors, supported by the jazzy orchestra directed by Madeline Smith ’14, give “Wonderful Town” its soul. The first duet between Leimkuhler and Davison as they lie in bed is both touching and deeply amusing. The two sisters clutch each other out of terror as they plaintively muse, “Why, oh why, oh why, oh—why did we ever leave Ohio?” While the lyrical humor is derived from the rhyme, the terrified glances between sisters solidify their apprehension. Not only do the two play well off each other, their voices also harmonize elegantly. Davison hits the dainty high notes in a manner suited to her flirtatious, feminine character while Ruth gracefully embraces the lower notes, reflecting her stronger-willed nature. In a later song, Ruth bitterly belts out that the “sure way to lose a man” is through correcting his grammar and insulting his intelligence. Leimkuhler’s representation of Ruth in this scene is strongly portrayal of Renée Zellweger’s Roxie Hart in 2004’s “Chicago” film adaption, complete with a sassy stubbornness and strongly exaggerated facial expressions to convey the song’s spirit.

Despite the spectacular and alluring performances of the two female protagonists, their acting and singing do not overwhelm the rest of the cast. Every character is portrayed with such a degree of nuance and care that, although multiple actors play multiple parts, each character has his or her own distinct personality. Speedy Valenti, played by Mauriello, is one such unique character. His habit of exiting the stage with jazz hands ties neatly into his extravagant costume and career choice. This character could easily have been over-the-top, but Mauriello keeps Valenti’s oddball personality loveable and just the tiniest bit loathe-able. Frank Lippencott, the socially inept Walgreens grocer (Alex B. Miller ’15) is the ideal representation of the overeager nerd who is both uncomfortable and amusing to watch. At an awkward dinner party, he tells a joke about a banana split that falls delightfully flat, leaving the other guests visibly embarrassed. Officer Lonigan’s (Yates A. Norton, a graduate student) harmonized number with a troupe of Irish police officers brings a bit of the Green Isles to the stage in a way that is surprisingly believable; their convincing faux-Irish accents are noticeable but not insensitive. Even Wreck (Matthew W. G. Walker ’16), an ex-football star who could have been played as a flat, predictable trope, instead undergoes a touching transition between pride and subtle disappointment as he remembers his lost youth.

Perhaps one of the greatest strengths of “Wonderful Town” is the acting, which transcends the music and lines. From Bob Baker’s (Mark R. Heath ’14) love-struck grin to Leimkuhler’s hilarious bouncing subway ride, each actor’s range of emotions, not only in their faces but in their body movements, drives the story home. At the end of the show, the performers’ honest and passionate portrayals of each character remains the best part of a wonderful “Wonderful Town.”

—Staff writer Devony B. Schmidt can be reached at devonyschmidt@college.harvard.edu.

This article has been revised to reflect the following correction:

CORRECTION: April 15, 2013

An earlier version of this article incorrectly stated that Anna G. Kelsey ’14 was a costume designer for the theatrical performance “Wonderful Town.” In fact, Anne A. Power ’16 was a costume designer for the show.