Schmigadoon! ★★★★★

Yee honk!

The most remarkable aspect of the stage version of Schmigadoon! is that it actually improves upon creator Cinco Paul’s original source material. The musical focuses only on the first season of the Apple television show of the same name, which ran for six half-hour episodes, and has been sharply edited into a two-and-a-half-hour stage version, including an intermission.

If there’s ever IP that is naturally suitable for a stage adaptation, this is it: a tale of two New York doctors who get lost while on a camping getaway and come upon Schmigadoon, a town they can’t escape from — an actual living, breathing musical, an amalgamation of Golden Age classics, including Brigadoon, Carousel, The Sound of Music, The Music Man, Guys and Dolls, South Pacific, The King and I, and even a smidgeon of Finian’s Rainbow.

To the show’s great credit, one need not have any knowledge of the aforementioned titles to get a kick out of Schmigadoon!, but being familiar with those classics certainly enriches the experience. And if you’re one of those people who hate musicals in general, especially old-fashioned ones, likely best to steer clear — unless you’re willing to succumb to the hilarity and fantastic musical numbers this wonderful cast delivers.

Alex Brightman and Sara Chase play the two lost doctors, Josh and Melissa, and the two complement each other nicely. Brightman, a two-time Tony nominee for Beetlejuice and School of Rock, excels with his impeccable comic timing and believability. And Chase dazzles with her beautiful voice and tongue-in-cheek charm, elevated to peak comedy when Melissa, an OB-GYN, gives a lesson on sex education in “Baby Talk,” a deliciously wicked spoof of “Do-Re-Mi.”

The supporting cast also thrives. Ann Harada, the only returnee from the television show, delights as Florence Menlove, and as her husband, Mayor Menlove, a slightly underused Brad Oscar makes the most of his given moments. Splendidly severe Ana Gasteyer brings down the house as Mildred Layton with her second-act banger “Tribulation,” Maulik Pancholy is sweetly affecting as her husband, The Reverend Layton, and fleet-footed Max Clayton is clearly having an infectious blast as Danny Bailey, the town’s rapscallion. And then there are the potential love interests for the town’s two unwitting visitors: Doc, portrayed finely by the debonair Ivan Hernandez, and Emma Tate, the spinster teacher embodied by Isabelle McCalla. She gives the production’s standout performance, so present and graceful that she almost steals the show, no small feat considering the extraordinary talent surrounding her. If there’s any problem with the show, it’s that McCalla is woefully underutilized in the show’s first act.

The hard-working chorus, dancing and singing the town to life, deserves special mention. The entire ensemble gets individual moments to shine, and as a group they bring such great energy and panache to the stage that their numbers are the show’s high points, especially the addictive “Corn Puddin” and “Cross That Bridge.”

Director and choreographer Christopher Gattelli has done exceptional service to writer Paul’s clever creation; the cuts and additions (the dream ballet!) all work well. In addition, scenic designer Scott Pask, costume designer Linda Cho, lighting designer Donald Holder, and sound designer Walter Trarbach all contribute richly to the town’s vibrant look and feel.

Ultimately what elevates Schmigadoon! beyond the expected laughs and joviality is its surprisingly moving ending. By the finale, the show also manages to grab the hearts of its audience, and once it does, it holds tight. It’s an emotional send-off that feels earned, an exemplar of all the great musicals to which it’s giving homage.