“A Chorus Line” is the essence of musical theater.

It’s the quintessential backstage musical. But instead of the Mickey and Judy “Let’s put on a show” trope, there already is a show.

All that’s needed are the dancers.

And, boy, do they have the dancers for the brilliantly-conceived “A Chorus Line” in the brilliant production by Director-Choreographer Luis Villabon, through July 10, Pennsylvania Shakespeare Festival (PSF) at DeSales University.

If you’re going to see one professional musical (12 Actors Equity Association members among the 27-member cast) for summer 2022, PSF’s “A Chorus Line” is the one. You don’t need to schlep to New York City. This is Broadway on Station Avenue.

In “A Chorus Line,” 24 dancers, then winnowed to 17 dancers, audition for eight parts in the chorus line of a Broadway show. What show? We don’t know. “A Chorus Line” is the stand-in. It’s the every man and every woman of Broadway musicals. It’s about making your mark, getting the job, landing the role. That’s the concept. That’s the storyline. It’s as simple as that. Or is it?

“A Chorus Line” is the ultimate musical. It strips the musical down to its bare essentials (Literally. The stage is bare): the chorus line, the dancers, the dancing, the steps (and the steps are incredible, as are the dancers), and the steps required to get in the chorus line of a Broadway musical, in talent, pluck and dumb luck.

“A Chorus Line” also strips bare the dancers, in their stories, their background, their vulnerability. This is where “A Chorus Line” in concept and story isn’t simple at all. It’s incredibly complex in the stories told by many of the dancers competing for a spot on the “line.” These soul-baring, soul-revealing and soul-daring stories are why “A Chorus Line” received the 1976 Pulitzer Prize for Drama and seven Tony Awards (including best book of a musical: James Kirkwood Jr., Nicholas Dante, and choreography: Michael Bennett and Bob Avian) of 10 nominations. “A Chorus Line” is about the Seinfeldian “Nothing” (or more accurately, the brains behind Pa, the Larry David “Nothing”) and, therefore, it’s about “Everything.” The June 24 opening night performance was seen for this review.

Among those putting it on the line in “A Chorus Line” are Mike (Andrew Ruggieri), whose eagerness and energy in “I Can Do That” early on sets the optimistic pace for the show; Sheila (Madison Finney) whose “At The Ballet,” with Bebe (Bianca Bulgarelli) and Maggie (Emma Vielbig), establishes her character’s haughty personality, and Kristine (Lauren Emily Alagna) and Al (Clint Maddox Thompson), providing comedic relief via their insecurities in “Sing,” accompanied by the Company.

The show builds, almost imperceptibly during the course of its 15 songs and two-hour and 18-minute length (with no intermission), as the stakes get higher when the time to cut dancers grows closer. Diana (Milan Magana) in her expansive “Nothing,” is superb, singing a fine line between resignation and acceptance.

Cassie (Sissy Bell, a ravishing mixture of vulnerability and nerves of steel), with “The Music And The Mirror” scores with the show’s most iconic scene, whereby huge vertical mirrors rotate like the Book Of Life to reflect not only the dancer(s), but if you look closely, yes, you, the audience, thus making the dancers’ stories metaphor for theater-goers to reflect (pun always intended) on the highs and lows, success and disappointment, challenges and defeats of their own careers and lives, and of time slipping away, Paradise lost and opportunities squandered. When Paul (Eddie Martin Morales) falls, he falls for all. Old athletes suffer old injuries.

Diana (Milan Magana) returns soon after for what is the show-stopper, and she does, with “What I Did For Love,” the song that leaped off the stage and into the cabarets to become a pop music torch song that still scorches. I’m having chill-bump flashbacks as I write this, recalling Magana’s magnificent rendition.

The superlatives aren’t only for the songs (Tony Award, best original score: Marvin Hamlisch, Edward Kleban), each of which expounds and expands character, setting and storyline. The superlatives, of course, extend to the dancers. After all, the essence of “A Chorus Line” is the dancing. Talk about extensions. Richie (Shaun-Avery Williams) does a triple spread-eagle jump (also known as a star jump) that will make you want to put your chiropractor on speed-dial. Also a standout: Connie (Musa Hitomi, who brings the spotlight to her), with “Hello Twelve,” along with Mark (Patrick Higgins, just outstanding). And let’s not forget Val (Kathryn Brunner, sensationally sassy), whose “Dance: Ten; Looks: Three” leaves little to the imagination, in a fun way.

Putting it all together is Zach (James Harkness), whose disembodied voice looms over all like the Wizard of Oz. Pay attention to the man behind the curtain. Harkness doesn’t so much walk as strides, as does his voice. He is Zach the all-powerful, who holds the strings, tightly, of every actor on stage. Harkness provides nuance. Zach’s not all bad. He was directed that way.

Kudos to, by my count, the 15-piece orchestra, conducted by Andy Peterson like “The Charge of the Light Brigade.” With four reeds, three trumpets, four trombones, two keyboards, bass and drums, this is the most powerful and precise ensembles ever to grace the PSF stage. They raise the roof with “One,” propelled by The Company, which gives new power to the meaning triple-threat (acting, singing, dancing), with outstanding choral work here and throughout the show. Sound Designer David M. Greenberg keeps dialogue, vocals and musicians nicely-balanced.

It wouldn’t be show-biz, wouldn’t be Broadway and it wouldn’t be the Pennsylvania Shakespeare Festival, if there wasn’t a flashy finish. “A Chorus Line” has the flashiest finish to my mind of any Broadway show. The actors convene in unbelievably gaudy, gold-trimmed costumes (Las Vegas on Station Avenue?). Costume Designer Michael McDonald also notates perfectly the personalities and 1970s’ ethos of the cast in their street clothes and dance outfits.

The finale is rendered brilliantly by Lighting Designer Richard Latta. Each dancer looks more like a ringmaster than the next, trotting in a high-step circle like thoroughbreds in a circus fantasia so powerful it’s frightening. They are “One” and they are the “One.” Each a star, as are we all, the show implies.

“A Chorus Line” is the one to see, if you can get a ticket. And if you’ve seen it once, you may want to see it twice.

“A Chorus Line,” 7:30 p.m. June 22-25, 29, 30, July 1, 6-8; 2 and 7:30 p.m. June 26, July 2, 9; 6:30 p.m. June 28, July 5 and 2 p.m. July 3, 10, Pennsylvania Shakespeare Festival, Main Stage, Labuda Center for the Performing Arts, DeSales University, Center Valley, Upper Saucon Township. Tickets: www.tickets.desales.edu ; 610-282-3192