Nostalgia is the backbone of the pop culture magic that we, as consumers, encounter every day.

One could argue that nostalgia is a marker for economic success, especially when Disney is involved in that equation.

There is a sense of optimistic urgency felt when the familiar tunes of Alan Menken float through the audience, or when viewers are engaged with representations of characters they grew up with. Or, in some instances, learning about for the first time.

Because of this, it becomes far too easy to become lost in a cyclical trance of emotional highs without leaving much room for criticism. After all, how can one critique such a thing as majestic merpeople, memorable ah-ah-ah ah hymns, and an ensemble of sea creatures that deliver a near-perfect, and vivacious, adaptation? The answer, if one could be provided, is that nostalgia is as limiting as much as it is powerful.

In Civic Theatre of Allentown’s splashy - my only water pun, I swear - “Disney’s The Little Mermaid,” through Oct. 22, Nineteenth Street Theatre, Allentown, then, it is evidenced that nostalgia drove the piece in both of these complicated directions. But, by the curtain call, the audience is left with a resounding upbeat temperament that settles the need to move past this feeling of safe familiarity.

When the realization struck that this was going to be a true-to-form retelling, spectatorship became effortless. It was easy to consume the gravitas of these performers emanating from this technologically proficient staging, especially when Katherine Semon (Ariel) began to sing. Even with Halle Bailey’s memorable vocal arrangement of “Part of Your World” in the latest screen adaptation, Semon proved to keep steady with a more traditional approach. They were, in almost every way imaginable, the faultless mermaid with a voice worthy of stealing.

Deserving of thunderous applause at the sound of every perfect note, it was as if the titular story came to life on this very stage. While this particular staging did not choose to shape Ariel’s vocal track to one with a bit more flavor, a reinvention perhaps, Semon did not miss an opportunity to showcase their classical-y expertise throughout.

Contributing to this trend of relentless dexterity is Richie Warmkessel (Ursula), Veronica Cummings (Sebastian), and Karima Brown (Flounder). Each performer gives an inspired performance that commanded attention, reshaped expectation, and that were grounded in firm confidence.

Warmkessel, from the start, didn’t fail to miss a beat. “Poor Unfortunate Souls,” a bonafide Disney villain mainstay, was sung through with such believable hardiness.

Prior to Warmkessel’s haunting rendition, though, Cummings and Brown delivered their respective songs with an unwavering clarity, emotional range and vocal flexibility.

In what could easily be a forgettable song, Brown soared through “She’s in Love.” For someone unfamiliar with the stage adaptation, it is rather shocking to see the shy Flounder morph into this loud, and boisterous, character. In that moment, throughout this song, the show belonged to Brown. It was a moment of freshness, a reminder to remain excited, and a quiet showstopper.

On the other end, Veronica Cummings had a show-defining moment of their own with “Under the Sea.” With this being the fan-favorite track, arguably, Cummings had no issue gliding through a vibrant track while shattering any predetermined expectations. The combination of Kimberly Mertz’s eccentric choreography, Will Morris’s directorial vision for this chaotic ensemble party jam, and Cumming’s interpretation, made for a lighthearted evening at the historic theater.

This element of lightheartedness was found in two other performers, too: Shaun Hayes (Chef Louis) and Nate Rosario (Scuttle). Both actors, filled with whimsy beyond belief, generated such laughter from the smallest of motions. They appeared to understand that nothing in a Disney musical is meant to be taken seriously, and even if it were, the point of them is to entertain. In fact, the entirety of the company seemed to be enamored with the idea that entertainment is the top priority. Which, in turn, led to a rapturous joy while audience members were exiting the theater.

If we were to revisit the conversation around nostalgia versus true innovation, one must first discover what the director meant to accomplish. Director Will Morris, as evidenced by their director’s note, seems to be mostly involved in trying to recreate Ariel’s “singular” journey for those who grew up with this; in a way, it could be read as a cathartic love letter to the movie musical that we once all, and still do, cherish.

The consistent display of the mermaid-isms in the style of Jodi Benson, and Disney tropes alike, shaped this entire experience. This version, then, was really conceptualized for the traditionalists that do not seek an extensive contemporary revision. Even with that observation, though, the Civic Theatre production is one worth seeing and warrants more than one visit under the deep blue.

“The Little Mermaid,” 7:30 p.m. Oct. 6, 7, 11, 13. 14, 19, 20, 21; 2 p.m. Oct. 8, 15, 22, Civic Theatre of Allentown, Nineteenth Street Theatre, 527 N. 19th St., Allentown. Tickets: Box Office, 610-432-8943; https://civictheatre.com/