The musical, “Chicago,” is as relevant to the culture of celebrity, media-obsession and the cult of personality as ever.

The Muhlenberg College Department of Theatre & Dance production of “Chicago,” through Nov. 8, Paul C. Empie Theatre, Baker Center for the Arts, Muhlenberg College, Allentown, is big, brassy, bold and bawdy.

Director Charles Richter and his excellent production team, as well as the tremendous student cast, get it and they get it right in the musical comedy with music by John Kander and lyrics by Fred Ebb and a book by Ebb and Bob Fosse, whose choreography is showcased.

“Chicago” requires gravitas, self-reference and pizazz. The Muhlenberg student actors project an emotional understanding beyond their years.

In his 37th year teaching and directing at Muhlenberg, Richter has outdone himself. Think Muhlenberg Summer Music Theatre in the fall. Richter’s “Chicago” is nothing short of spectacular from the trompe l’œil framing of the huge Empie stage to the concluding chorus and dance number in the two and one-half hour show (including a 15-minute intermission).

Scenic Designer Tim Averill frames the proscenium with images of theater box seats, rococo elements primarily in aqua and tan, and a drop curtain with images of buildings, trains and city life. The effect lends intimacy, pulling the audience toward the action on stage.

Averill designed “doors” that raise and lower on each side of the stage, allowing moving risers to swiftly bring forth set pieces. For the Cook County jail scene, Averill uses six movable grids depicting jail cells. A catwalk serves as a jail backdrop and, with art deco motif, provides the setting of a dance hall. A big neon-lit “Roxie” sign in letters and a sunburst deco set piece add to the scenic variety.

Lighting designer Gertjan Houben creates splashes primary red, blue and other “palette cleansers” to augment the bold scenic design.

Costume designer Hunter Kaczorowski has created beautiful and elegant dresses. There’s lots of detail, too. The men’s lapels, for example, including piping. The women’s dance outfits are fabulous. The cell mates’ shirtwaist stripes are a good choice.

The 13-piece orchestra, conducted by Music Director Michael Schnack, is a jazz conservatory ensemble big on woodwinds and brass (two trumpets, two trombones, tuba and, in instances, two piccolos, clarinets and three saxophones), plus piano, drums and splashes of banjo, mandolin, ukulele, violin and accordion. Sound Designer Patrick Moren keeps everything in balance.

Choreographer Jeffrey Peterson keeps the cast of 20 and ensemble of 13 additional students in near constant motion, building solidly on the Fosse choreography. The recognizable drop-shoulder, slouch stance, shoulder roll, sliding feet, pointed toes, and Fosse hands, raised like kittens or flicked at the waist, are in fine form.

Cameron Silliman (Velma Kelly) commands the stage from the instant she begins singing “All That Jazz,” a number that is just “Wow!” Silliman astounds, especially considering her performance as Gary Coleman in the Muhlenberg Summer Music Theatre 2015 production of “Avenue Q.” Silliman has a honeyed tone comparable to Bessie Smith.

Sillman is a standout in Richter’s amazingly staged and Peterson’s exuberantly choreographed “Cell Block Tango” with each in the female ensemble giving their all, including those on the catwalk. The use of red scarves to symbolize the crimes is a nice touch.

Siliman is stunning in the solo spotlight “I Can’t Do It Alone.” Act Two concludes with the evocative “My Own Best Friend,” a duet with Lillian Pritchard (Roxie Hart). Silliman opens Act Two with the winsome “I Know A Girl.” Silliman rocks the stage with “When Velma Takes The Stand,” with the male ensemble providing great support in an homage to the silent movie era.

Silliman, who has an engaging presence as a dancer, gets better and better in “Class,” a duet with Jessica Jones (Matron “Mama” Morton), and the concluding “Nowadays” duet with Pritchard.

Lillian Pritchard has a terrific voice and, perched on a stage-set piano, really “sells it” in “Funny Honey.” Pritchard pulls out all the stops for “Roxie,” with strong support by the male ensemble. Pritchard is at her coquettish best with great dance moves for “Me And My Baby,” again with the fine male ensemble.

Jessica Jones (Matron “Mama” Morton is memorable in one of the show’s best-known songs, “When You’re Good To Mama.”

There are also very good males in featured roles in “Chicago.” Jakeim Hart (Billy Flynn) has a wonderful voice and is outstanding in “All I Care About,” backed by the superb female ensemble. Hart’s great in the comedic “We Both Reached For The Gun,” with Pritchard, Mary Sunshine (Nick Stone) and the ensemble. Hart’s amazing in the signature “Razzle Dazzle,” backed by the ensemble. Hart is so versatile. He’s a really good dancer. He even juggles.

Dan McKenna (Amos Hart) has a great hangdog countenance and rubbery body language. McKenna’s interpretation of “Mr. Cellophane” is sublime.

Nick Stone (Mary Sunshine) pulls off the disguise and is amazing in “A Little Bit Of Good.”

You’d have to go far to see as fine a production as Muhlenberg’s “Chicago.” You don’t have to. It’s right here, right now. Don’t miss it.

Tickets: Muhlenberg College box office, Trexler Pavilion for Theater and Dance, 2400 Chew St., Allentown; muhlenberg.edu/SMT; 484-664-3333.