By Lou Fancher

“On the Town” premiered on Broadway in 1944. Based on choreographer Jerome Robbins’ idea, it’s blessed with a sumptuous score by Leonard Bernstein.

The centerpiece of the musical was always Robbins’ invigorating ballets and Bernstein’s stick-in-your-craw songs, especially “New York, New York” and “Lonely Town.” Sixty-five years later, Diablo Theatre Company’s production continues that tradition with style and substance.

The pursuit of love ‑ at least the 24-hour version ‑ leads three sailors off the ship and through the streets of New York. Ozzie is all knowledge and desire, Chip is wrapped up in his father’s old map and agendas for sight-seeing and Gabey is looking for “Miss Turnstile,” whom he falls in love with after seeing her picture on the subway.

The ensuing action, filled with hilarious supporting characters, provides a whirlwind tour of the city ‑ from subway rides to Carnegie Hall to Coney Island. As dawn breaks, the sailors find their hearts’ desire, but also the end of their leave. The three friends return to the ship just as a new crew of soldiers prepares for their big city adventure.

Bounding from stage right to left with more spring than a super ball, Ryan Drummond’s Ozzie sets the pace for the evening. He’s a versatile actor, moving with the physical humor of John Cleese, and, in “Carried Away,” displaying a fine, warm-toned voice. Bryan McElroy as Gabey is solid and charmingly understated as the soldier whose pursuit of Miss Turnstile propels the action. Mark Farrell’s Chip rounds out the trio, managing to be both adorable and dimwitted ‑ two characteristics that frequently slide into “annoying” when overplayed by less adept actors.

Courtney Iventosch (Ivy/Miss Turnstile) is a director’s gem, with an expressive voice, willowy profile and surprising physical gumption. Hope Mirlis’ Hildy is a knockout hit. Her growl and give-it-to-me-now delivery ‑ not to mention her cab driving ‑ is nothing short of magical. Every musical has a sweet, sexy honey, and as Claire, Emma Goldin is blessed with a voice sent from the angels above and fits the role perfectly.

Director Mindy Cooper, who shares choreographic credit with Company C’s Charles Anderson, packs the production with exhilarating movement. It’s not just dancers who dance; everything does: subway, taxi, ship, skyline, actors, briefcases, museum dioramas ‑ all zipping in and out or spinning around and around to dizzying, brilliant effect.

The actors don’t just stand up from a couch; they twirl off. Food and scarves aren’t passed hand to hand; they float or are flung through the air. It’s lively – alive ‑ and exactly what makes musical theater satisfying.

The sets by Robert Broadfoot are streamlined and effective. Costumer Carol Edlinger has clearly done her homework; the designs are accurate, stylish and never overpowering.

If conductor Cheryl Yee Glass’ orchestra occasionally struggled on opening night to synchronize with the actors, it was a minor distraction and an indication of the dynamic edge live performance lends to a production. With a three-week run, the musicians and actors are sure to find a mutual groove.

Editor’s Note: Fancher is ballet mistress for Company C Contemporary Ballet, one of the organizations involved in the production.