The Drowsy Chaperone, Lyric Stage Company of Boston, through May 12. 617-585-5678 or lyricstage.com

Should a show have a strong concept a la the masterworks of Kander and Ebb or Sondheim? For Man in Chair—the middle-aged arm chair aficionado of the Canadian musical "The Drowsy Chaperone" (1998, 2006-Broadway), a 1920's lively musical comedy is the answer. A dreamy and lively well-costumed show can lift his spirits and provide him with a needed escape from reality.

That kind of theater magic takes over the fanciful high-energy revival of the five Tony Award winner at the Lyric Stage Company of Boston—one that should entertain the most demanding local theatergoers.

At the start of "The Drowsy Chaperone," Man in Chair seems to be this demanding—even as he claims in the purposely dark opening that he hates theater. Quickly, though, this agoraphobic stage right theatergoer reveals that his favorite musical is a 1928 show of the same name and proceeds to play a vinyl recording of it.

As he comments to the audience on the pleasures of 1920's musical comedy, the show-within-a-show fictional "The Drowsy Chaperone" comes to life—with Cameron McEachern's vivid scenic design, Seth Bodie's very colorful period costumes and John Malinowski's nuanced lighting.

Bob Martin and Don McKellar's often madcap book depends upon a parody of the genre—including mistaken identities, characters in disguise and unlikely romance. Here a self-centered gigolo named Adolpho mistakes the tipsy-therefore 'drowsy'—Chaperone for musical star-fiancée Janet Van De Graaf.

At one point Janet pretends to be a French woman named Mimi in a sequence during which her dashing but somewhat clueless fiancé Robert Martin skates while blindfolded. An impresario named Feldzieg—surely an allusion to Ziegfeld—wants to keep Janet in his Follies. Two gangsters pass themselves off as pastry chefs. Look for wedding-hosting Mrs. Tottendale sharing vodka with her attentive butler. Anxious best man George struggles to find a justice of the peace, but a deus ex machina character saves the day.

During his humorous side commentary, Man in Chair notes stars of the recording of the fictional musical. Lyric Stage cast members—under Larry Sousa's sharp direction—both capture their roles and smartly resemble the stars to whom Man alludes. Jay Clark has the right appeal as Janet and displays the dynamism Man in Chair attributes to a Jane Roberts.

Jared Troilo catches Robert's cheerfulness and good nature and looks as handsome as purported matinee idol Percy Hyman. Damon Singletary finds all of the business focus of Feldzieg— whom the armchair expert observes was played by a veteran performer named Jack Adler. Maureen Keiller has confidante Drowsy Chaperone's vulnerability and has all of the presence that Man associates with a supposed great stage actress named Beatrice Stockwell. Christian Mancinas-Garcia captures Adolpho's amusing gigolo and the style of supposed silent movie star Roman Bartelli.

Matthew Stern—arguably now the dean of Hub music directors—does his very best with a sometimes underwhelming Lisa Lambert and Greg Morrison score that often seems to parody 1920's fare. His efforts are especially vibrant on the standout "As We Stumble Along" with a transcendent Keiller. Double threat Souza keeps the choreography catchy—particularly for the tap duo for Troilo and Mark Linehan as George.

Best of all is Paul Melendy's alternately spellbound and bluesy Man in Chair. Comically gifted Melendy displays all of Man's expressiveness whether slamming intermissions (none in this musical), reacting at the sidelines to plot entanglements and fantastical situations and even referring to a chupah. His virtuoso performance alone is worth the price of admission.

Quite simply, Lyric Stage's rousing revival of "The Drowsy Chaperone" is an intoxicating pleasure.