Fewer theatrical experiences are more thrilling than a Kander and Ebb musical done well. Porchlight’s revival of ‘Cabaret’ delivers the exact kind of razzle-dazzle audiences expect when they think of the Kit Kat Club. Directed by Artistic Director Michael Weber and choreographed by Brenda Didier, this production scrubs off some of the grit that’s become a hallmark of the iconic Rob Marshall Broadway revival. By using the same script, and borrowing some of the aesthetic, there’s a really satisfying buoyancy about Porchlight’s approach to this essential musical.

The success of any production of ‘Cabaret’ hinges on the actors playing the Emcee and Sally Bowles. This cast has two strong leads in the respective roles. Josh Walker channels neither Joel Grey nor Alan Cumming, but instead something more playful, adding a little mirth to the eerie Kit Kat Club host. Sally Bowles the character may only have minimal talent, but Erica Stephan has the soaring vocals songs like “Maybe this Time” and “Mein Herr” were made for. It’s a joy to watch her embody the part in every lithe movement and manic quip.

Part of what makes Kander and Ebb musicals like ‘Cabaret’ and ‘Chicago’ so infectious are the catchy songs and jazzy dance numbers. By now they’re almost inseparable from Fosse’s sexy choreography. The ensemble numbers in this production create thoroughly satisfying versions of some of the most beloved Broadway music of all time. Brenda Didier cuts through the dark currents of the script and gives audiences of both the Kit Kat Club and Porchlight exactly what they crave—beautifully distracting spectacle.

Based on the classic novella ‘The Berlin Stories’ by Christopher Isherwood, ‘Cabaret’ is an eternally relevant story about apathy during political crisis. The musical numbers are toe-tapping fun, but yet there’s something uneasy about ‘Cabaret.’ It’s a celebration of being “other”. Since the original 1966 Broadway production and the subsequent Liza Minnelli film, it’s become a landmark of queer culture. At its heart, it’s a play that reminds its audience not to take the right to be different for granted.

Despite the darkness on the fringes of ‘Cabaret’, Porchlight’s production injects some roaring 20s opulence into their version. Costumes by Bill Morey are styled in flapper-chic that seem more historically accurate and frankly, more attractive. The costumes move well with Didier’s Charleston-flavored choreography which also seems more authentic to the time period.

‘Cabaret’ gives the audience a sense that they’ve been whisked away somewhere exotic for two and a half hours. Every member of the cast is perfectly at home in their world and the come-hither physicality with which they beckon their audience is impossible to decline. Michael Weber reminds us again why Porchlight is a destination for contemporary musical theatre in Chicago. This production is every bit as good as the Broadway revivals that too often rely on stunt casting. Instead, Porchlight sheers away some of the overly morbid overtones and replaces them with a purer sense of escapism. After all, in here life is beautiful.

Through February 12 at Porchlight Music Theatre at the Ruth Page Center for the Arts. 1016 N Dearborn St. www.porchlightmusictheatre.org

*Extended through March 19th