Ocean City — With the stupendous production of “42nd Street” at the Hughes Performing Arts Center, Michael Hartman’s theatrical career as a director, performer and choreographer is going strong.

The musical was performed in conjunction with the brass and reeds of the Ocean City Pops. Jenn Rose was the official choreographer for “42nd Street,” but I’m sure that Michael provided lots of inspiration. He, in turn, was likely inspired by Gower Champion, who is no slouch in the terpsichorean department either. Champion choreographed and directed the Broadway production of the show.

Hartman’s explosive production of “42nd Street” was a real treat in every sense of the word. Of course, Hartman had help - lots of it. It takes more than just a village when you’re working with an army of dancers, singers, actors and other talented folks on a show of this magnitude.

There aren’t enough superlatives to describe the goings-on in the Hughes PAC last week. The audience repeatedly gasped with delight at the singing, dancing, costumes and scenery that seemingly changed with lightning speed and smoothness. There wasn’t an embarrassing gap anywhere in the show. I haven’t seen tap dancing like that since the last time I saw Savion Glover, and it wasn’t just the individual dancers. The ensemble dancing was so professional that it was almost scary. Squads of tap dancers filled the stage in perfect order but with the kind of verve you usually get only from seasoned professionals.

“42nd Street” had an air of authenticity about it that is only achieved by someone who has obviously done his or her homework. Everyone associated with the show was obviously too young to have firsthand experience with Depression era dialogue and references to things like breadlines (thank goodness), but they handled the terms as though they really knew. The gorgeous 1930s costumes helped too.

The Pops pit band was perfectly coordinated with the action of the cast, so that not one cue was missed. That was quite an accomplishment.

It would be an impossible task to give many individual plaudits to each cast member. I’ll have to let it suffice to simply say they were all deserving of the highest praise. There were, however, several key starting roles that can’t be overlooked. Marcia Dunlap played and sang, quite prettily, the unsympathetic role of Dorothy Brock, whose broken ankle makes it possible for Peggy Sawyer (Alicia Kelly) to assume the starring role in a show called “Pretty Lady.” Kelly’s singing and dancing talents should guarantee her many starring roles in the future. Her resume indicates she’s had lots of experience for someone so young. Rebecca Flint, as everybody’s buddy, sparkled in her every appearance.

Jefferson Heller, as the producer-director of the fictitious “Pretty Lady,” is guilty of theatrical grand larceny. On several occasions he all but stole the show. He is everything a leading man should be, with the looks, rich baritone singing voice and a smile that could make him a natural spokesman for whitening toothpastes.

Onstage music was masterfully handled by Jonathan Kreamer, the music director of the Ocean City Theater Company. Kreamer managed to get the chorus to sing sweetly when needed, or raucously as 1930s chorines were apt to do. In simple terms, “42nd Street” captured the ambience and atmosphere of the times completely. I recall seeing the 1933 film version, and Alicia Kelly can sing ad dance rings around Ruby Keeler, who played Peggy in the movie.

The music is the actual star of “42nd Street.” Harry warren penned such memorable tunes as the title song, “Lullaby of Broadway,” “We’re In the Money,” “Shadow Waltz,” “You’re Getting to be a Habit with Me,” “About a Quarter to Nine,” and “Shuffle Off to Buffalo.” Can you name a Broadway musical with more hits? Harry Warren, whose real name was Salvatore Guaragna, was one terrific songwriter. You can imagine why he changed his name. It would work fine for Italian opera, but not for Broadway.

The Ocean City Pops and Hartman have collaborated previously on shows including, “The World Goes Round,” “Seussical, the Musical,” “Grand Night for Singing” and “Bye Bye Birdie.” Hartman came into his own with “42nd Street,” and the foundation of the Ocean City Theater Company, of which he is the artistic director. It should be nothing short of wildly sensational when the Ocean City Theater Company trots out “The Wizard of Oz” and “A Funny Thing Happened on the Way to the Forum” later this summer. I’m sure Hartman will have lots of goodies up the sleeve of his toga. He has the brain, heart and courage to make it so.