“Waikiki’s Rock’n Reception,” Kalakaua Avenue’s newest showroom entry opening June 9, is an immersive, energetic and ambitious production. It’s light in substance but loaded with 1950s glitz and glam, staged in shared real estate at the Sheraton Princess Kaiulani Hotel.

A brainchild of a transplanted Honolulu couple, Joel and Gabrielle Himelhoch (with mainland and Down Under credits), the attraction is a mashup of Las Vegas theatrics and a Hawaiian luau, with camaraderie inspired by “Tony n’ Tina’s Wedding,” “Hairspray” and “Grease.”

It is ensconced amid tiki figures and canoe sails in the hotel’s Ainahau Showroom, regular home to Tihati’s “Te Moana Nui” Polynesian spectacle, which is staged Sundays, Wednesdays and Fridays. “Reception” will play on “Moana’s” dark nights.

The showroom configuration features neatly appointed square tables of 10 (instead of round), with wide aisles required for the free-flowing shenanigans.

Reviewed at a preview performance,“Reception” is in-your-face fun, circa 1955, with an island cast of 20 portraying the bride, groom, members of the Crawford and the Ka‘ana‘ana ohana, and other figures from the marriage milieu. A splendid five-member stage band called Johnny Guava and the Jams, led by Reyn Halford as the barking host Guava, keeps this nostalgic romp throbbing with continuous audience input.

It has potential but lacks tensions that might elevate it to legit theater. Perhaps through flashbacks or a dream sequence, an element of conflict involving the bride and groom — resolved by the finale — would provide peaks and valleys that would structurally upgrade storytelling, while upholding family values and traditions; it’s all cheerful fluff now. Further, the score begs for one breakout powerhouse ballad.

Giselle Laurie as Penny Crawford and Aaron Mariano as Kaleo Ka‘ana‘ana create sparks like genuine newlyweds, smooching and slow-dancing with unrelenting cheer. Mariano boasts valid hula maneuvers, too.

He is local, she is from Las Vegas and their kinfolk represent the divide. From his, there’s Auntie Hoku (Starr Kalahiki, a singing tita with terrific pipes) with a garden of blooms tucked in her coif; from hers, BJ Crawford (Kevin Pease) is the crooning mainland dad, naturally in formal tux.

A chic Supremes-inspired trio, the Cupcakes (Christina Souza, Melissa Diallo and Jessica Hoffman) are party headliners, with smooth girl-group choreography. A workhorse caterer named Miguel Reception (Lance Rae), pronouncing his surname as “ree-sep-see-on,” with a deliberate Filipino accent, previews the kaukau on “Grindz,” after asking arrivals if they are guests of the Ka‘ana‘ana or Crawford clan.

There’s perpetual dance-floor action: slow-dancing, upbeat hula shimming, shaka hand-jiving, a snaking conga line and even a limbo lineup.

The gyrations halt for a trek to the buffet line, but there’s an unnecessary second pause, when the newlyweds cut a faux cake, enabling guests to mingle or shoot selfies (out of sync for the ’50s). Real cake slices are served to all, despite the dessert at the buffet.

Composers Eric Gilliom and Michael Ruff collaborated on 19 tunes, a few with derivative nuances of “Hairspray” and “Grease.” Gabrielle Himelhoch (the show’s director) and Christine Yasunaga choreographed the pop dances, Vicky Holt Takamine the Hawaiiana.

Friston Ho’okano’s wig creations reflect the Fab ’50s, and the eye-filling rainbow costumes designed by Gabrielle Himelhoch match the era, too.

Willie Sabel’s set includes tinseled stage panels and a half-circle front-and-center stairway resembling a tiered wedding cake, for easy exits and entrances.

Oh, and two oversized dancing puppets — of Coconut Girl and Hula Girl — add fantasy and spectacle with genuine kid and adult appeal.