O.C. THEATER REVIEW : ‘Misbehavin’ ’ Does Just as It Should : Fullerton Civic Light Opera’s jazzy revival of the 1978 musical gets most everything right, from casting to sets and costumes.

FULLERTON — The original “Ain’t Misbehavin’ ” came along in 1978. Critics raved about it. Audiences flocked to it. Everyone was dazzled.

A saucy pistol of a show, it not only focused on Fats Waller’s jazzy Harlem music and made a star of Nell Carter, it also launched a wave of black cabaret-style revues, beginning with “Eubie” and “Sophisticated Ladies.” Even today its influence is felt in Broadway engagements such as “Five Guys Named Moe” and “Jelly’s Last Jam,” a full-scale musical about Jelly Roll Morton.

The Fullerton Civic Light Opera’s seductive revival of “Ain’t Misbehavin’ ” wastes no time reminding us of just what all the commotion was about.

It charms with sassy tunes, sizzles with racy lyrics and, like the original production, showcases a cast brimming with irresistible talent. Indeed, it offers probably the best all-around ensemble that FCLO has put together in years. Each of the five performers has class, and together they deliver an exuberant evening of first-class entertainment.

Nothing is perfect: The sound system at the Pacific Auditorium does a disservice to the show with its disembodying effects and its lack of balance. Also, couldn’t the FCLO find the right sort of barrelhouse piano for Kevin Toney, the adept musician who leads the band from the stage and plays in Waller’s stride-piano style? And if he must play on a small, shiny upright, couldn’t somebody mike it loud enough to be heard?

Nits aside, everybody will have his favorite moments in this stylish production, which is lushly designed and costumed to evoke the aura of the ‘30s and ‘40s. My own happens to be baby-faced Tanya Montgomery doing anything in the role created by Carter, whom she resembles to a remarkable degree. Montgomery croons like an angel in “I’ve Got a Feeling I’m Falling,” scats like a pre-be-bop baby in “Cash for Your Trash” and belts whenever a tune calls for it.

On the other hand, it’s hard to top the insinuating song-and-dance magic of the versatile Harrison White. He delivers a show-stopping number about getting stoned on a five-foot reefer, “The Viper’s Drag,” which is both funny and atmospheric.

Debbi Ebert puts over a song not just with the rich sound of her voice--a luscious and rangy instrument--but with every glance of her eyes and every fiber in her body. When she does “Squeeze Me,” you’re the one who feels squeezed.

Charles McCowan and Terry Henry ought not to be overlooked, of course. In “Your Feets Too Big” and “Keepin’ Out of Mischief Now,” they add spice--he with his deep bass and she with her swank energy--to a production already overflowing with such spunky tunes as “The Joint is Jumpin’ ,” “Lounging at the Waldorf” and “Find Out What They Like.”

Some in the audience, recalling the home-front during World War II, got a special kick out of “When the Nylons Bloom Again.” But the show’s most affecting moment was unquestionably the ensemble’s performance of “(What Did I Do To Be So) Black and Blue,” a soulful testament to the African-American experience that crosses all generations.

‘Ain’t Misbehavin’ ’

A Fullerton Civic Light Opera presentation of the Fats Waller musical revue, based on an idea by Murray Horwitz and Richard Maltby Jr. and conceived and originally directed by Maltby. With Charles McCowan, Harrison White, Debbi Ebert, Terry Henry and Tanya Montgomery. This production directed and choreographed by Rob Barron (based on Arthur Faria’s original choreography). Musical direction by Grant Rohr. Set by Gil Morales and Spectrum Design Studios. Lighting by Donna Ruzika. Costume coordination by Ambra Wakefield. Original costume design by Garland Riddle. Performances are Thursday to Saturday at 8 p.m.; Sunday at 7 p.m.; March 7 at 2 p.m. Through March 7 at the Pacific Auditorium, 2500 E. Nutwood Ave., Fullerton. $19 to $24. (714) 879-1732. Running time: 2 hours, 15 minutes.