NEW YORK >> The pinnacle of fine dining in New York these days can’t be found in a Michelin-starred restaurant, though it will probably cost you just as much. No, you’ll have to get yourself and your wide-open wallet to the Shubert Theater, where the savory spectacle of Bette Midler eating turns out to be the culinary event of the year.

Midler — who opened in the title role of “Hello, Bette!,” I mean “Hello, Dolly!,” on Thursday night — not only knows how to make a meal out of a juicy part; she knows how to make a meal out of a meal. In the second act of this exceedingly bright and brassy revival, Midler can be found sitting alone at a table, slowly and deliberately polishing off the remnants of an expensive dinner, from a turkey bone dipped in gravy to a multitude of dumplings, while the rest of the cast freezes in open-mouthed amazement.

Midler brings such comic brio — both barn-side broad and needlepoint precise — to the task of playing with her food that I promise you it stops the show. Then again, pretty much everything Midler does stops the show. As for that much anticipated moment when she puts on fire-engine red plumes and sequins to lead a cakewalk of singing waiters, well, let’s just hope that this show’s producers have earthquake insurance.

Back on a Broadway stage in a book musical for the first time (can it be?) since “Fiddler on the Roof” half a century ago, Midler is generating a succession of seismic responses that make Trump election rallies look like Quaker prayer meetings. Her audiences, of course, are primed for Midler to give them their money’s worth in Jerry Zaks’ revival of this 1964 portrait of a human steamroller out to land a rich husband in 19th-century New York. The show was a scalper’s delight from the moment tickets went on sale.

But Midler isn’t coasting on the good will of theatergoers who remember her as the queen of 1980s movie comedies or as the bawdy earth goddess of self-satirizing revues from the ’70s onward. As the center and raison d’être of this show, which also features David Hyde Pierce in a springtime-fresh cartoon of the archetypal grumpy old man, Midler works hard for her ovations, while making you feel that the pleasure is all hers. In the process she deftly shoves the clamorous memories of Carol Channing (who created the role on Broadway) and Barbra Streisand (in the 1969 film) at least temporarily into the wings.

The show as a whole — which has been designed by Santo Loquasto to resemble a bank of Knickerbocker-themed, department store Christmas windows — could benefit from studying how its star earns her laughs and our love. Playing the pushiest of roles, the endlessly enterprising matchmaker Dolly Levi, Midler never pushes for effect. Her every bit of shtick has been precisely chosen and honed, and rather than forcing it down our throats, she makes us come to her to admire it.

Much of the rest of Zaks’ production charges at us like a prancing elephant, festooned in shades of pink. This is true of the hot pastels of Loquasto’s sets and costumes, and of Warren Carlyle’s athletic golden-age-of-musicals choreography, which is both expert and exhausting.

When an onstage laugh is called for, it comes out as a deafening cackle or a guffaw, which is then stretched and repeated. Double takes, grins and grimaces are magnified into crushing largeness, while the chase sequences bring to mind slap-happy Blake Edwards comedies. Even reliably charming performers like Gavin Creel and Kate Baldwin, who play the plot’s supporting lovers (with Taylor Trensch and Beanie Feldstein as their second bananas), seem under the impression they’re in a Mack Sennett farce.

My audience couldn’t have been more tickled by these hard-sell tactics, which hew closely to Gower Champion’s original staging. A tone of sunny desperation isn’t out of keeping with what seems to be this production’s escapist mission, which is to deliver nostalgia with an exclamation point.

Featuring a book by Michael Stewart and a tenaciously wriggling earworm of a score by Jerry Herman (given gleaming orchestral life here), “Hello, Dolly!” is a natural vehicle for rose-colored remembrance. It was adapted from Thornton Wilder’s play “The Matchmaker,” which grew out of his “The Merchant of Yonkers,” itself adapted from an 1842 Austrian reworking of an 1835 American one-acter.

With its folksy wisdom and air of life-affirming wonder, Wilder’s script translated fluently into the hyperbole of a big song-and-dance show, which spoke (loudly) not only of a more innocent age of American history but also of a time when musicals were upbeat spectacles, with outsize stars to match. (Channing was succeeded by a cavalcade of divas, from Ethel Merman to Pearl Bailey.) Don’t forget that “Hello, Dolly!” opened just two months after the assassination of John F. Kennedy, when the United States felt anything but united.

The genius of casting Midler as Dolly, a widow who decides to rejoin life by marrying the rich and curmudgeonly Horace Vandergelder (Pierce), is that she built her career on making nostalgia hip. Even when she was sassing and strutting for the gay boys at the Continental Baths in her youth (when the original “Hello, Dolly!” was still on the boards, she was channeling entertainers from the days of burlesque.

With Midler, such hommages were never merely camp. She exuded bone-deep affection and respect for vaudeville stylings, in which impeccably controlled artifice became a conduit for sentimentality as well as rowdy humor. That affinity pervades every aspect of her Dolly, which is less a fluid performance than a series of calculated gestures that somehow coalesce into a seamless personality.

Consider, for starters, her hydraulic walk, made up of short, chugging steps. (A real train materializes for the big “Put On Your Sunday Clothes” number, but Midler is the real locomotive wonder.) Or her take-charge New Yawk accent, spiced with the insinuating inflections of Sophie Tucker. Or her stylized collapse into exhaustion in the middle of the title song.

Without stripping gears, she makes fast switches from explosive comedy to a sober emotionalism that never cloys. (Her pop hits, you may remember, include the weepy “Wind Beneath My Wings.”) And her final scenes with Pierce, who delivers a beautifully drawn caricature (and is rewarded with a solo that was cut from the original), may leave you with tears in your eyes without your quite understanding why.

Midler’s talents have never included a conventionally pretty voice. Yet when she rasps out the anthem “Before the Parade Passes By,” you hear her voice as that of a nightingale. And when she hikes up her period skirts to shuffle her feet, she gives the impression she’s dancing up a storm.

She’s not, of course. (Her kicks in her big numbers are only from the knees.) But a great star performance is at least 50 percent illusion, conjured by irresistible will power and cunning. Midler arranges her component parts with the seductive insistence with which Dolly Levi arranges other people’s lives.

After two acts of fending off Dolly’s charms, Horace finds himself proclaiming, in happy defeat, “Wonderful woman!” Nobody is about to argue with him.

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