His specialty is a stock character called “the Nance” characterized by over-the-top effeminacy and rapid-fire double entendre.

But it is Laura McClain in her role as the matriarch of the New Rochelle family who shines brightest. The effortless beauty and elegance of her singing voice is matched by her deft navigation of her character arc.

The lo-fi aesthetic fits perfectly with the Second City-style comedic premise and Gorilla Tango’s cabaret stage, with its exposed brick wall, creates a better backdrop for the locally set show than any arrangement of flats could hope to conjure.

Part musical revue, part biography of the American-born French superstar, writer-director Daryl D. Brooks’s new production sparks with the same energy and enthusiasm apparent in the surviving footage of his subject’s performances.

He deftly captures both the alluring charisma of the real Disney as well as the private mania inherent in a person whose response to a world of death, conflict and uncertainty is a seemingly endless supply of platitudes about “magic” and “dreams.”

This ensemble assembled by director Tom Mullen is nigh flawless, each with a well-tuned pop voice and instrumental acumen, and together possessing a strong chemistry that makes the performances feel lived in.

There is, for instance, not a single true aria in the entire span of composer and founding Police member Stewart Copeland’s score. Instead, it favors a more organic, Wagnerian melding of recitative and song which works well to keep the plot moving at a nice pace.