"Those dancing feet" return for a third time to Diamond Head Theatre in its current revival of the musical "42nd Street." This production shoots for the sky, adding another star to the theater’s already stellar season.

"42nd Street" was producer David Merrick’s last big hit on Broadway in 1980, scoring nearly 3,500 performances and spawning road tours and revivals. The show was actually developed from much earlier sources — a same-named 1932 novel and 1933 film — and was one of the first successful screen-to-stage adaptations.

The musical is a splendid reminder of how a simple plot and lots of singing and dancing can whisk your cares away.

Harry Warren’s music and Al Dubin’s lyrics, originating in Depression-era America, take us back to the 1930s. Emmett Yoshioka leads the band through a bevy of familiar tunes including "We’re in the Money" and "Lullaby of Broadway," transporting us into a world of behind-the-scenes theater.

A beautifully scalloped gold theater curtain and brass-colored footlights set the tone, and Willie Sabel’s simple and effective art deco-tinged sets of dressing rooms, backstage spaces, and the infamous stage door present glimpses of theater life.

The tap-happy show highlights director John Rampage’s ability to fill the stage with colorful action, and choreographer Caryn Yee’s talent for creating flashy production numbers that display a dizzying array of movement.

A show-within-a-show, the plot centers on an in-the-works musical, "Pretty Lady." Notorious director Julian Marsh is desperately seeking a comeback, but opening night is suddenly jeopardized when his star, aging diva Dorothy Brock, breaks her ankle. Marsh persuades Peggy Sawyer, a chorus member fresh from Allentown, Pa., to step into the lead, and as she prepares for the spotlight, emotions erupt.

Leiney Rigg delves into the vulnerable as well as the plucky side of Peggy, delivering an engaging and heartwarming performance. A versatile actor, singer, and dancer ("triple threat" in theater lingo), Rigg may one day follow Peggy’s footsteps to the Great White Way.

As Julian Marsh, Timothy Callais immerses himself in the role of a man who is wildly passionate about the theater, and increasingly smitten by his new leading lady. Some of the show’s best moments are the tender and emotional ones between the two of them.

As the now wheelchair-bound diva, Aiko Schick has a touching scene with Peggy in her dressing room on opening night, as she encourages the budding star to go out and claim the spotlight. Planted among the blockbuster numbers, these human moments provide the show with warmth.

As Billy Lawlor, the young lead in "Pretty Lady," the multitalented Ari Dalbert is so focused and sharp, he captures the audience at every turn. Reyn Halford also delivers a solid performance as the "Pretty Lady" choreographer.

Caryn Yee’s choreography for this nearly nonstop dancing show is impressive. Her numbers put the two-dozen ensemble members through their paces as the "kids in the chorus," and what better musical to showcase these energetic and enthusiastic tappers and performers?

Karen Wolfe’s flamboyant approach to the costumes adds period panache with tuxedos and gowns and revels in flashy over-the-top attire. All the design elements come together beautifully in the final "42nd Street" number that provides a sensual and dramatic night view of the theater district.

People remain intrigued by what goes on behind the scenes in show business, and "42nd Street" shares themes with "A Chorus Line," "The Producers" and other musicals that explore the ups and downs of life in the theater.

For the stage-smitten crowd, these stories are personal and inspiring. As long as Broadway and community theaters survive and thrive, these theater-themed shows and their stars will continue to shine.

Jane Kerns, a doctoral student at the University of Hawaii at Manoa, holds degrees in theater and vocal performance and has performed as an actor and singer in New York City.