“The Wiz,” which opened Friday at Paliku Theatre, is an undeniable tribute to the late Ronald Bright, perpetuating the drama educator and mentor’s storytelling skills with an incredibly polished cast retelling the familiar “Wizard of Oz” tale in an updated color pallete and with a formidable dance presence.

You know the spin: Dorothy (Bailey Barnes), the Kansas orphan, is whisked to Oz during a storm, where she encounters the zany Scarecrow (Zare Anguay), Tinman (Miguel Cadoy III) and Cowardly Lion (Matthew Pederson), plus assorted witches, winged monkeys, Munchkins and the titular wizard from Nebraska.

A 1975 Broadway musical devised as an African-American version of the Oz fantasy was Bright’s favorite (he first produced it here in 1985) because of its lesson of believing in oneself and the foundation of home, family and faith.

Those universal values are still potent in this production by the I’m a Bright Kid Foundation, which features a company of 52 singers and dancers — including many former Bright students and cast members — an orchestra of 15 and a dog.

Barnes is a splendid Dorothy, combining innocence and spunk with a tornado of a voice, from her early “Soon As I Get Home” to the rhapsodic “Home” finale. Her travel companions fare well, too: Anguay’s unstable Scarecrow, in search of a brain, shows nimble elasticity on “Ease on Down the Road,” while Cadoy’s Tinman, minus a heart, is suave and steadfast on “Slide Some Oil to Me,” and Pederson shows roaring resilience on “Mean Ole Lion.”

In secondary roles, Alison Maldonado (Addaperle, the Good Witch of the North) is comedic on “He’s the Wiz,” Dane Ison (The Wiz) is hypnotic on “Believe in Yourself” and doubles behind the scenes as vocal coach; Jade Stice (Glinda, the Good Witch of the South) is endearing on the reprise of “Believe in Yourself,” and Pomai Lopez (Evillene, the Wicked Witch of the West) is intimidating and explosive on “Don’t Nobody Bring Me No Bad News.” Allan Lau (the Royal Gatekeeper) and Yvette Uni Sua’ava (Aunt Em) also have their moments.

Director Mary Chesnut Hicks demonstrates a talent for staging scenes with throngs of characters without sacrificing focus. Choreographer Marcelo Pacleb deftly animates an ensemble involving poppies, crows, Kalidahs, Ozians and Winkies, while maestro Clarke Bright’s orchestra provides the rich and rousing melodics.

Anna Foster’s whimsical costumes help define the characters.

Even frisky Mochi, appearing as Dorothy’s dog Toto, doesn’t miss his cues.