Basically, the story, set during the Great Depression, is one of a fading director, Julian Marsh, who is trying one last time to create a Broadway hit. Because of his dependence on the money of producer Abner Dillon, he is forced to hire a fading star, Dorothy Brock, whom Dillon happens to be fond of. She reluctantly goes along with this alliance, but is secretly in love with Pat Denning.

In the middle of dance auditions, enter the sweet, talented, na•ve ingenue from Allentown, Pa. Peggy soon grabs the heart of Billy, the male star of the show, and eventually she captures the attention and affection of the stony Julian Marsh as well. To him she represents the ardor and idealism he once knew but has subsequently lost.

As the story evolves, Dorothy falls and breaks a leg, so the "big chance" for Peggy presents itself. Julian's jaded, crusty side gives way to apologetic pleading. His belief in her talent finally inspires her to take the risk. Both characters grow in the process, and though Billy is attracted to Peggy, too, the most interesting interactions take place between Julian and Peggy. Rick Richter, a sensitive, versatile actor, is quite convincing as the tough taskmaster who is more worried about his own success than anyone else's feelings. His transformation into a true mentor and empathetic human being is gratifying to witness. We grow to like him as the story ends.

Other actors who are outstanding include Karin Cunningham as the nurturing "stage mother" type. Her role as Maggie adds humor and warmth to the harsh setting of show biz. Corey Richards as the bouncy, narcissistic Billy Lawler, is well executed. His tenor voice is mesmerizing. Tracie Brah as the egotistical, difficult leading lady Dorothy Brock, lacks consistency. Her changes in attitude seem too abrupt sometimes to be believable. Her best scenes are the drunken one and the reconciliatory one with Peggy.

But the star of the show is Patty Neuhoff as Peggy Sawyer. She is a perfect fit. Her darling face is alive with whatever emotion she is experiencing, she is a consummate tap dancer, a lovely singer, and a totally engaging presence every moment she is on stage.

The choreography is impressive. There are enough strong tappers to compensate for a couple of weak spots. The ensemble singing is full and rich, and the set design by Michael Talaska is colorful, surprising at times and very functional. Costume choices by Sharon Sohner have some kick and gave us the flavor of the old musicals.

Well directed by the competent and enthusiastic John Cramer, assisted by Jacob Sudbrink on music and Lauren Ashley assisting with choreography, the show is a smash. GO SEE IT. The production runs through May 24. Call (262) 547-0708 for times and tickets.