There’s no doubt that Brian P. Allen loves music from the golden age of musical theater. The Good Theater artistic director couldn’t even wait until his usual midseason Broadway tribute show this year. He decided to kick off the company’s 2015-16 season with his original revue highlighting the work of Broadway legends Ethel Merman (1908-84) and Mary Martin (1913-90).

“No Biz Like Show Biz” has been a project of Allen’s for over a decade and, after extensive research, rehearsal and refinement, it’s onstage now at St. Lawrence Arts in Portland. Brimming with classic tunes, it makes for a most entertaining evening at the theater.

One could argue that the richness of the classic material has made for almost too much of a good thing in the 90-minute show. With all the witty lyrics and strong melodies, it was a lot to take in. But the overall feeling at the close was appreciation for how great those old show tunes are and how fun it was to hear them brought to life again.

Allen has enlisted three performers who wisely don’t try to impersonate Merman and Martin but rather showcase the music that they helped to make famous. There are songs by Irving Berlin, Cole Porter, the Gershwins and many more, offered in solo, duo and trio versions.

Marie Dittmer, Lynne McGhee and Jen Means came out strong with a full-voiced take of “There’s No Business Like Show Business.” Each then settled into solo numbers that established their individual styles. Bits of pantomime and choreography connected the pieces.

Means was an early standout with her flirtatious take on “My Heart Belongs to Daddy” and later combined with McGhee for an amusing version of “You’re Just in Love,” with Dittmer acting as comic foil. Dittmer then took command on “Red Hot and Blue.”

A change of costumes (designed by Justin Cote) from casual to more formal attire led to a stronger second act where Dittmer and Means paired on wondrous variations of “My Favorite Things.” McGhee came closest to a Merman-esque moment with the knock-’em-dead classic “Everything’s Coming Up Roses.” Means also scored solo with a dreamy “Never Never Land.”

A final section found the singers seated on stools as they worked through tunes from “Annie Get Your Gun,” each having a solo moment as well as joining in some pristine harmonies that entertained a near-capacity audience.

Musical director/arranger Victoria Stubbs added piano accompaniment throughout from the side of the set, which was designed by Craig Robinson and combined elements of living room, cabaret and theater decor circa mid-20th century.

Allen hopes to take this and selected Good Theater shows on the road, with help from a Maine Community Foundation grant.

Steve Feeney is a freelance writer who lives in Portland.