Tony Davis, the director-author-producer of this musical revue of the based on a musical tribute to the 1950s and '60s, provides much of the show's energy.

His musical and comedic skills are impressive and are especially evident in the skit leading into "Silhouettes," his wonderful parody of Louis Prima in "That Old Black Magic" and his soulful rendition of "Unchained Melody."

However, the male quartet needs greater cohesion, unlike the female one, which is right on. "Lollipop" was very well done, down to the last pop.

Beyond the joy of revisiting many of the old tunes, we also experienced a talented group of dancers who executed the jitterbug, the stroll, the twist and other popular gyrations from the past with consistent zest.

Carl Liden and Mary Melter, co-hosts of the show, did a fine job of interacting with the audience, as well as providing some interesting historical facts about the various cultural changes and biographical tidbits about some of this era's stars.

They even coaxed audience members to participate in a hula hoop contest and a quiz show. Liden was smooth and appropriately corny and annoying, and Melter, although not always sure of her lines, was very effective in her reactions to him. Linda Elder and her cohort also provided some comedic contributions.

Some of the best solo numbers besides the aforementioned tunes were Samantha Burkard's "Heat Wave" and "You Can't Hurry Love"; Angie Todd's "The Wallflower" and "You Don't Have to Say You Love Me"; and Paul Burkard's "At the Hop."

Jacob Sudbrink and Tony Davis also proved their musicality and versatility in their "Human Jukebox Medley."

Part of what made the audience enjoy them was their obvious joy in performing. Their contrasting styles - Davis' intensity and Sudbrink's easygoing manner - worked well together.

The costumes helped set the scene. The poodle skirts on the dancers and pastel girlie-girl dresses featured in "Lollipop" really brought back memories to those who were teens in the '50s.

Bringing back parodist Allan Sherman with his "Hello Muddah, Hello Faddah" number was another pleasant surprise. I had almost forgotten how many laughs he evoked in his short-lived popularity. He was the musical Ogden Nash.

The audience obviously enjoyed themselves throughout the show. If the show got a bit shaky here and there because of opening night, something wonderful was always just around the corner. I'm sure each performance improved upon its predecessor.