Oct. 20 (Bloomberg) -- The new musical “Memphis” actually kicked around for six years before making it to Broadway, where it arrives triumphant.

It is a black show written by two white men from the concept of a third, George W. George. Yet what Joe DiPietro (book and lyrics) and Bon Jovi keyboard player David Bryan (music and lyrics) have wrought is based on an intense feeling for Memphis in the 1950s, for the lives of blacks (and some whites) in those years of segregation, and the music that sublimely came out of them.

The story is fictional and slightly derivative, yet also witty and moving, human and humane. The hero, Huey Calhoun, is an illiterate young white man and serial bungler drawn to the soulful music emanating from Beale Street dives, where, however unwelcome, he insistently hangs out.

He is particularly taken with young Felicia Farrell, as golden-voiced as she is sexy, and is especially resented by her fiercely protective brother, Delray, owner of the subterranean juke joint bearing his name. He will not abide a “cracker” hovering about his sister. Not even if Huey does play a cool piano, sing in the manner of black singers and love Delray’s club as well as his sibling.

Consummate Hustler

In addition to appreciating black music, Huey has one major talent: He is a consummate hustler. He finagles his way into becoming the city’s top disc jockey despite a racist mother, Gladys, and a wary radio station owner, Mr. Simmons. Much harder yet, he manages to gain Felicia’s trust and, eventually, love.

This is more than a simple feel-good story; there are plentiful setbacks for the young lovers and only a semi-happy ending, if that. But I can guarantee you a rambunctious good time highlighted by rousing music and singing, spectacular dancing, and even some shedding of tender tears.

The musical numbers are irresistible. To be sure, choreographer Sergio Trujillo had at his disposal some phenomenal dancers, but, at least as important, he has come up with original and incandescent dancing that no current musical and very few past ones could match.

Stage Magic

Add extremely inventive, multifarious scenery by David Gallo, exhilarating costumes by Paul Tazewell, and unostentatiously incisive lighting by Howell Binkley, all this coordinated and magisterially deployed by Christopher Ashley’s direction, and you have magic even before you get to the performances.

Chad Kimball’s summoning up of Huey is so perfect that not for a moment do you believe that it is only acting. This is a performance hewn out of live flesh and blood. He is enchantingly partnered by the Felicia of Montego Glover, a thrilling singer and commanding actress. However difficult this Felicia is, you root for her every inch of her questionable way.

There are first-rate performances from Derrick Baskin, J. Bernard Calloway, James Monroe Iglehart, Michael McGrath and Cass Morgan. And also from everyone else in a large, uniformly flawless cast.

At the Shubert Theatre, 225 W. 44th St. Information: +1- 212- 239-6200; http://www.Telecharge.com. Rating: ****

What the Stars Mean:
****       Do Not Miss
***        Excellent
**         Good
*          Poor
(No stars) Worthless

(John Simon is the New York drama critic for Bloomberg News. The opinions expressed are his own.)

To contact the writer of this column: John Simon in New York at jis1925@aol.com.

Last Updated: October 19, 2009 22:30 EDT