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Music by Harry Warren, lyrics by Al Dubin, book by Michael Stewart and Mark Bramble, directed by Jonathan Church, choreography by Bill Deamer. Playing at the Princess of Wales Theatre, 300 King St. W., through Jan. 21. or 1-800-461-333

Early in the second act of 鈥�42nd Street,鈥� one character tells another, 鈥淭hink of 鈥榤usical comedy鈥� 鈥� the most glorious words in the English language!鈥澨�

After watching the glitzy, toe-tapping West End revival of this nostalgic 1980 offering, you鈥檒l have to agree. It might not be the deepest or most profound show ever written, but its archetypal backstage tale of talent and youthful pluck winning the day provides much-needed distraction from the current news cycle.

What鈥檚 more, one key relationship in director Jonathan Church鈥檚 production has been slightly altered so it鈥檚 less problematic in this era of uneven workplace power dynamics and clearly delineated professional boundaries.

Church establishes the show鈥檚 period setting effectively. During the overture, in a series of tableaux, we see the New York City of the 1930s, where black and white video projections (designed by Jon Driscoll) evoke both the sophisticated glamour of Times Square and the grittier, harsher side of the ongoing Depression.听

Then come those iconic words: 鈥淕et out your tap shoes, Francis,鈥� and the curtain rises on a group of young hoofers tapping up a storm in their audition for a big new Broadway musical called 鈥淧retty Lady,鈥� directed by the famous Julian Marsh (Adam Garcia).听

Absent from those rehearsals is a fresh-faced ing茅nue from Allentown named Peggy Sawyer (Nicole-Lily Baisden) who impresses the show鈥檚 young male lead, Billy Lawlor (Olly Christopher, who alternates with Sam Lips) with her talent 鈥� and looks 鈥� but gets dismissed by the dance captain (Alyn Hawke) because she鈥檚 late.

Soon enough, however, after a couple of impromptu numbers in the streets and in a basement tea house, Peggy displays her uncanny ability to sing, dance and act. And eventually Julian hires her for a spot in the chorus, although she quickly gets on the wrong side of the show鈥檚 demanding leading lady, Dorothy Brock (Ruthie Henshall), whose current beau (Anthony Ofoegbu) is bankrolling the show but whose lover, Pat (Michael Praed), is waiting in the wings.听

Confused? Never mind. As Billy sings in one song, 鈥淲ho cares if there鈥檚 a plot or not?鈥� 鈥� a sentiment that could apply to 鈥�42nd Street鈥� itself.听

What matters are the musical numbers by composer Harry Warren and lyricist Al Dubin, some of which come from the classic 1933 film directed by Lloyd Bacon, and others which were taken from songs the team penned for other films. You could call this show a jukebox musical set at a time that actually had jukeboxes.

Add in Bill Deamer鈥檚 kinetic, high-kicking choreography and musical staging, Robert Jones鈥檚 sizzling sets and colourful sequinned costumes, Ben Cracknell鈥檚 evocative lighting and some of the most talented triple threat performers from the UK, and you鈥檝e got a show that can鈥檛 miss.听

Big production numbers include the splashy wish-fulfillment fantasy, 鈥淲e鈥檙e in the Money,鈥� which includes dancers accompanying over-sized replicas of dimes, and the impossibly catchy 鈥淟ullaby of Broadway,鈥� which begins as an imploring solo sung by Julian to Peggy but eventually morphs into a huge ensemble number that鈥檚 bursting with vitality and showbiz chutzpah. And for good old-fashioned vaudeville shtick, it鈥檚 hard to top 鈥淪huffle Off to Buffalo,鈥� which chronicles a newlywed couple鈥檚 amorous night on a train with lots of sexual innuendo and peek-a-boo farce.

There are also quiet moments, like Dorothy鈥檚 ballad about her lover, 鈥淚 Only Have Eyes for You,鈥� sung by Henshall with a clarity and heartfelt emotion that give her spoiled character a bit more complexity. And her duet with Peggy in the second act brims with generosity.

Other standouts include Christopher鈥檚 bright and cheerful Billy and the delightful pairing of Josefina Gabrielle and Michael Matus, who play the show鈥檚 songwriters Maggie and Bert with the comic timing and brassy voices of a Comden and Green.听

Garcia has the difficult role of the older director who slowly warms to his new leading lady, and his relationship with Baisden鈥檚 Peggy is handled tastefully. His bittersweet final solo suggests memories of decades of opening nights and promising careers.

As for Baisden, she鈥檚 more than convincing as the show鈥檚 optimistic chorine who鈥檚 catapulted overnight to fame.听

Does the story make sense? Not a bit. We鈥檙e told that the show-within-a-show鈥檚 leading lady is a terrible dancer, and yet when we see numbers from that show she鈥檚 required to dance constantly. A couple of characters pop up then disappear.

The music and performers are gloriously alive and present. Like that song from another period musical, the numbers provide lots of razzle dazzle. Sometimes that鈥檚 more than enough.