The book, anchored to a 25th Motown anniversary celebration and fleshed out with flashbacks, was written by Motown honcho Berry Gordy, based on his book “To Be Loved: The Music, the Magic, The Memories of Motown.” Not surprisingly, likably acted by Brandon Victor Dixon, Berry (he also is a producer of the show) comes across as a great guy and achiever, whose only fault is being overbearing and single-minded in his ever-ambitious quest for success, thwarted when some whose careers he boosted move on elsewhere to the tune of more money. Milestones are noted, as with the ultimate breakup with Diana Ross. There is also perfunctory detail paid to events of the times, illustrated by projections, such as the assassinations of John F. Kennedy and Martin Luther King, and battles in the civil rights movement and protests against the Vietnam War.

But these are all way stations among the musical pleasures. On the night I saw the show the roles of young Berry Gordy, young Stevie Wonder and young Michael Jackson were played by young Raymond Luke, Jr. and he is a show-stealer if ever there was one. That kid can sing, dance and stop a show. (He alternates with Darius Kaleb.)

In other casting, Charl Brown plays the loyal Smokey Robinson, Bryan Terrell Clark is Marvin Gaye, and Valisia LeKae effectively does the honors as Diana Ross. David Korins has provided nifty shifting set designs, Natasha Katz dazzles with lighting and Esosa has gone to town with flashy costuming. A major contribution is the hair and wig design by Charles G. LaPointe. An avalanche of choreography has been provided by Patricia Wilcox & Warren Adams, with director Charles Randolph-Wright accomplishing the major task of keeping the long show on the move despite typical book lulls.

“The Legendary Motown Catalog” of music and lyrics yields more songs than one can keep count of (consult Playbill for the total). Motown music is made available courtesy of Sony/ATV Music Publishing. “My Girl” and “My Guy” are, of course, there. So are “Baby, I Need Your Lovin’;” “I Got the Feeling;” “I Heard it Through the Grapevine;” “I Want You Back;” “Love Is Here and Now You’re Gone;” “To Be Loved;” “Where Did Our Love Go?”—the list goes on. Three new songs were written for the production by Gordy and Michael Lovesmith—“Can I Close the Door?’ “Hey Joe (Black Like Me),” and “It’s What’s in the Grooves That Counts.”