The set of “In The Heights,” the pull-oneself-up-by-the-bootstraps-in-the-barrio musical at Muhlenberg Summer Music Theatre (MSMT) through July 31, looks like one of the blocks along North Seventh Street in center city Allentown.

The silhouette of the Brooklyn Bridge in the MSMT production signifies that “In The Heights” indeed takes place in Washington Heights, a Manhattan, New York City, N.Y. neighborhood where Lin-Manuel Miranda, who wrote the music for “In The Heights,” was born. His musical acumen, rap-lyric expertise, socio-economic insight and singing-acting resulted in four Tony Awards for the 2008 Broadway production and a 2009 best musical theater album Grammy, presaging his second Broadway musical, the blockbuster, “Hamilton,” which received 11 Tonys this year and a Putlizer Prize for Drama.

While “In The Heights,” which Miranda originated in 1999 at Wesleyan College (graduating in 2002), doesn’t necessarily have you humming the tunes as you leave the Dorothy Hess Baker Theatre, Trexler Pavilion for Theatre and Dance, Muhlenberg College, Allentown, it will leave you slack-jawed in astonishment at not only the lyrical alacrity of Miranda, but the physical dexterity of the actors’ singing and performances as directed by James Peck, Professor of Performance Studies and Theater History and Associate Dean for Diversity Initiatives at Muhlenberg College.

The story line of “In The Heights” is a companion piece to “West Side Story” (1957) and a setting-the-record straight from a Latino artist’s mouth. The characters of “In The Heights” are a Runyonesque collection ala “Guys & Dolls” (1950), but Latino rather than Italian and Caucasian.

What “In The Heights” shares with the “America” rough-and-rumble movin’ on up of “West Side Story” and the “Luck Be A Lady” winner-take-all of “Guys & Dolls” is the near religious belief of upward mobility in America

And, if the Almighty is symbolized in the prayerful “Maria” in “West Side Story” and the hootin’ and hollerin’ Holy Roller “Sit Down, You’re Rockin’ The Boat” in “Guys & Dolls,” the song, “96,000,” which celebrates Usnavi’s share of the dollar amount of a winning lottery ticket sold at his bodega (store), simply, plainly and unapologetically celebrates that Golden Calif, the Almighty Dollar, in the through-line Prosperity Gospel at the core of the hip-hop Capitalism of “In The Heights” (as well as the monetarist and monarchist sentiments of “Hamilton”).

American Studies shibboleths aside, if “In The Heights” lacks the sturm and drang of “West Side Story” and the cartoony good versus evil of “Guys & Dolls,” it more than makes up for this in the book by Quiara Alegria Hudes with a depth of character and choreography in the production that Peck directs with an evident enthusiasm for the sheer energy of the piece that virtually spills off the stage and carries over to the heads, hands and hearts of the audience.

“In The Heights” is irresistible. It cajoles, charms and cashes in on its dynamic score, with music director-conductor Ed Bara and a nine-piece band, and the triumphant talents of its predominantly young, vibrant Latino cast, with fiercely-demanding choreography by Samuel Antonio Reyes, which incorporates salsa and merengue.

Chief among the outstanding cast is Gabe Martinez in the lead male role of Usnavi, who right from the opening number, “In The Heights,” sings the “rap-sody” with a rapid-fire intensity that seems impossible. Martinez also relaxes into the quieter side of Usnavi in “It Won’t Be Long Now,” with Tiffany Byrd (Vanessa) and Zach Jackson (very lively and humorous as Sonny), and “Champagne,” with Usnavi’s love interest, Vanessa, with Byrd, again in splendid and soaring voice.

Bree Ogaldez (Nina) has most of the spotlight numbers: “Breathe,” with her crystalline voice immediately impressive, and with her love interest, Benny (the always impressive Jakeim Hart) in “When You’re Home,” “Sunrise,” “Everything I Know” and “When the Sun Goes Down.”

At the center of the cast is Roberta Meek (a cheerful “Abuela” Claudia), whose resonant voice embraces all in “Patience and Faith” and “Hundreds of Stories.”

Memorable in supporting roles are Robert Torres (Kevin, the car service owner), noteworthy in “Useless,” and Wilma Rivera (Camila, his wife), a show-stopper in “Enough.”

Proving that there are no small roles is Eric Thompson (Piragua Guy) in the comedic number “Piragua.”

Supporting-role comedy relief standouts include Victor Abreu, Jr. (Graffiti Pete), Jamie McKittrick (Daniela, the salon owner) and Emily Spadaford (Carla, the salon employee).

The Ensemble includes Nicollette Amico, Tim Canali, Dianna Cortorreal, Vivian Cruz-Rivera, Gabrielle Hines, Ricardo Negron, Nathaniel Rosario and Jarred Rosario-Riche.

John Raley designed the realistic set, detailed down to graffiti, fire hydrant and Rosario’s Car Service, Lotto Deli, ATM and Dominican Style salon store fronts, signs and interiors. Costume designer is Lex Gurst. Lighting designer is John McKernon. Sound designer is Patrick Moren.

“In The Heights” is an exuberant exhortation of a lively locale and lives, not only of Jackson Heights, about two hours east of Allentown, but of a nearby neighborhood, about 15 blocks east of Muhlenberg College.

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