Two years after it opened on Broadway, I have to admit it: I’m shameless when it comes to loving “Movin’ Out.” The combination of inspired choreography, no-holds-barred dancing, and an intensely emotional story create the moment of uplift we seek from the arts. But in this case, the moment lasts for pretty much two hours. I leave the theater with a sense of optimism and hope about life – and about the theater: could we see a day when more musicals are as powerful as this?

If you don’t know the plot already, “Movin’ Out” tells the story of five small-town friends whose lives are disrupted by the Vietnam War. Choreographer Twyla Tharp created the story by joining together pop songs by Billy Joel. But though the familiar lyrics help the story along, Ms. Tharp’s vocabulary of movement makes the show.

Now performing in the lead roles are Nancy Lemenager as Brenda and Desmond Richardson as Tony. These two characters fall in love after Brenda and Eddie – high school sweethearts who married too soon – break up. Their romance is put on hold during the war, only to be rekindled later.

The original Brenda, Elizabeth Parkinson, had sex appeal that was off the charts. Her lusty look was modulated by the sweet, Opie-like quality of Keith Roberts, the original Tony. With the new cast, the roles are a bit reversed. Tony, as played by Mr. Richardson, is hotter than Vegas in August – whereas Brenda, played by Ms. Lemenager, is more sweet than spicy.

Ms. Lemenager has all the quickness and allure needed for the role. At times she relies too much on facial expressions, but she’s more than able to communicate what she needs to through the body. Her style has a rough-and-tumble edge; she seems not afraid to her get hair messed up. She also has more of a friendly, open air than the glamorous Ms. Parkinson.

Mr. Richardson gives his role a slightly naughty side. On his body, Ms. Tharp’s style is sly and smoothly aggressive. Mr. Richardson is a classically trained ballet dancer, but he’s got Broadway swagger. At times, his telltale balletic grace oozes out beyond the jeans and sneakers. You know the ballet dancer is in there when he kicks higher than everyone else, when he hits an arabesque with that unmistakable, beautiful line, and certainly when he partners Ms. Lemenager.

On that note: Though these two have palpable chemistry throughout their work together, their duet to “Shameless” felt rushed. A little more artistry, a few pauses for drama, would have emphasized spontaneity, rather than choreography.

Cast changes notwithstanding, the star of the show is still John Selya, the powerhouse who dances as Eddie. He was excellent to begin with. Now we’re watching a legend. Over the last two years, he has ingrained the character and movement into his body. Eddie’s crack-up in Vietnam is even more scarily intense than it once was. His joy at recovery is deep – and contagious. His pirouettes and jump-turn combinations are, as they always were, mesmerizing.

Also still on stage is Ashley Tuttle, who dances the role of sweet, prim Judy – girlfriend of the good boy James. Ms. Tuttle’s pointe work somehow makes me nervous. Every time she goes up on toe, it’s nerve-wracking. I’m not sure if it’s a lack of confidence in her strength or the contemporary choreography on pointe. She’s a decent enough actress, and a fluid ballet dancer, but she had me biting my nails.

“Movin’ Out” is still a great escape from the everyday world. It tells a powerful story, and it is boundless in its energy. That the show is still full of dancers who have the necessary stamina is encouraging. Though the story has its dark side, it is ultimately a feel-good hit – one that stirs the heart and soul.