Million Dollar Quartet,” the fifth show of the 2016 season at the Ogunquit Playhouse, will run through Nov. 6. It is a most enjoyable show that ranks high in entertainment values, and is fit for the whole family to enjoy.

For those of a certain age, it will bring back a whole lot more than nostalgia, and for those who did not live through the decades that started in the mid-1950s, it is a crash course in American cultural history.

Imagine if you will, if a record producer could get the likes of Beyonce, Madonna, Miley Cyrus and Lady Gaga for a recording session. The equivalent occurred in 1956, when Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis held an impromptu jam session at Memphis’ Sun Records. In this fictionalized version, they visit Sun to visit producer Sam Phillips.

The plot of the show is not involved: the first three artists come to tell Phillips they have signed contracts with other labels; the latter is there to get signed. All the performers resemble their real-life counterparts, and have the gestures and movements down to the proverbial “T.” Vocally speaking, they sound at least as good as the musicians they are playing. In the case of Scott Moreau, he sounded to me at least as good or even better than Johnny Cash ever did. Elvis is played by Beau Cassidy, Perkins by James Barry and Lewis by Nat Zegree. The latter stole the show, and reminded me of Harpo Marx on steroids.

Bligh Voth played the only female in the cast, and she did her gender proud. Initially, she seemed to be there as Elvis’ girlfriend, but as it turned out, she sings very well. I particularly enjoyed her musicality in her rendition of “Fever” and when she joined Moreau for “Ghost Riders in the Sky.”

Jason Loughlin did a convincing job as Phillips. rounding out the cast was Nathan J. Douglass (Brother Jay), who played a mean double bass, and David Sonneborn (Fluke), who is one superb drummer.

For history buffs, one is reminded that because of an automobile accident, Perkins, who recorded “Blue Suede Shoes,” did not appear on the “The Perry Como Show,” a television variety show, to perform the song. While he was recuperating, Presley performed the song on “The Milton Berle Show.” James Barry really played the electric guitar (as well as sang), and Zegree was irrepressible at the piano. He even played the piano at various angles as Mozart did in the film “Amadeus.”

The biggest hits by these performers are sung in this show, songs that were particularly identified with the performers: “Hound Dog,” “That’s All Right, Mama” and “Memories Are Made of This” with Presley; “Matchbox,” “Who Do You Love,” “See You Later, Alligator” and “Everybody’s Trying to Be My Baby” with Perkins; “I Walk the Line,” “Folsom Prison Blues” and “Ghost Riders in the Sky” with Cash; and “Wild One” and “Whole Lotta Shakin’ Goin’ On” with Lewis.

As great as these renditions were (and they were really good, especially Moreau’s performance), for me, the highlight of the show were the performances of “Down by the Riverside,” and “Peace in the Valley” by the principals. No backup, no accompaniment. Each part had to be correct and there was no place to hide, vocally speaking. These were done superbly, I might add.

The instrumental performances by Barry, Zegree, Douglass and Sonneborn were simply outstanding. Zegree’s piano playing (as well as his histrionics) always dominated the action on stage.

Barry deserves a world of credit for his role as musical director (as well as performer). Hunter Foster made the most of the set, as it did not hinder, but only seemed to add to the action. The movement of the characters during and between the songs seemed natural and not staged.

The conclusion with the principals in a photo may have been inspired by the ending of the show “1776.” The lighting by Richard Latta added to the effectiveness of the action.

If you want to be entertained, see “Million Dollar Quartet.”

— Morton Gold is a composer/ conductor, retired educator and an arts reviewer for the Journal Tribune.