As a form of entertainment, Motown The Musical, currently playing at the Aronoff Center in Cincinnati, is a roaring success, thanks to its well-known songs, high-octane performances, and nostalgic appeal. The show is less successful as a musical theater piece, however, due to a lackluster attempt to tell the story of Berry Gordy and the birth of the Motown Records in addition to presenting the songs that made the label a legend.

Framed around preparations for a TV broadcast celebrating the 25th anniversary of Motown Records, and subsequent flashbacks starting with Berry as a young child, Motown The Musical is based on Gordy's 1994 autobiography. This stage adaptation premiered on Broadway in 2013 and is expected to return to New York in the summer of 2016. The show certainly doesn't lack for familiar songs from the 1950s through 1980s. Over 60 Motown hits are heard, though many are truncated snippets rather than full numbers. It's hard to go wrong with a score that consists of songs such as "Lonely Teardrops," "My Guy," "My Mama Done Told Me," "My Girl," "Please Mr. Postman," "Do You Love Me," "Dancing In the Street," "Stop! In the Name of Love," "What's Going On," "I Heard It Through the Grapevine," "I'll Be There," "I Want You Back," "ABC," "Reach Out and Touch (Somebody's Hand)," and "I Hear a Symphony," just to name a few. The songs, by Gordy, Holland-Dozier-Holland (Lamont Dozier and brothers Brian and Eddie Holland), Smokey Robinson, and many others, are the soundtrack of black America, and indeed, America in general, in the first few decades of rock and roll and R&B. There are also a couple of new songs written by Gordy and Michael Lovesmith specifically for this show.

The book for the show, credited to Gordy, chronicles his establishment of the record label in Detroit, and his ups and downs both personally (including a relationship with Diana Ross) and professionally. But, the writing is somewhat creaky. Some of the dialogue is painful, and the comedy, though effective at times, is rarely witty or subtle. The formulaic biographical presentation of the story is clearly told, but without much depth or innovation. The vast majority of the songs are performance numbers. Of the ones used to propel the story forward, most seem shoehorned in. The plot is most compelling when commenting, through dialogue and song, on historical events such as the Vietnam War and the assassinations of JFK and Dr. Martin Luther King Jr.

The national tour boasts a talented cast, with strong leads and a versatile ensemble. It's both a blessing and a curse to play such iconic performers, but the cast does well in both imitating and portraying these stars. As Berry Gordy, Josh Tower confidently embodies the role with a strong stage presence, and sings very well. You'd never know that Ashley Tamar Davis was an understudy as Diana Ross, as she is very well suited to the character and vocally as the superstar lead of The Supremes, and is quite at ease when the character goes out into the audience and interacts with theatergoers. Jesse Nager gets lots of laughs as Smokey Robinson and sings like him without sounding like an imitation. Jarran Muse (Marvin Gaye) and Tiffany Janene Howard (Mary Wilson) impressively show themselves as skilled and powerful vocalists. As young Michael Jackson, Leon Outlaw Jr. is a spitfire of energy and youthful exuberance and a great singer.

Director Charles Randolph-Wright certainly keeps the show moving at a breakneck pace, and the storytelling is clearly conveyed, but his praiseworthy work can't overcome the weaknesses of the book. Choreographers Patricia Wilcox and Warren Adams provide worthwhile replications of the classic dances for the performance numbers, as well as some original dances which are visually appealing and convey the tone of the piece well. This is especially evident for the song "War." Darryl Archibald leads a strong (though a bit too loud) and talented band.

David Korins provides a simple yet effective set design which uses sliding frames, projections, and smaller set pieces and drops. The costumes by Esosa are historically accurate and attractively rendered. Natasha Katz's lighting works great for both the dramatic book scenes and the flashier performance pieces, and is a nice complement to the scenic elements.

As far as jukebox musicals go, Motown The Musical boasts a very strong score, and works better than many. But, like so many similarly created shows, the story can't match the level of the music. General audiences aren't likely to care though, as this is a true crowd pleaser. The songs, along with the wonderful performers, make this an easy going and pleasant nostalgic trip down memory lane.

Motown The Musical continues at the Aronoff Center in Cincinnati through September 20, 2015. Tickets can be ordered by calling (800) 294-1816. For more information on the tour, visit www.motownthemusical.com.

Also see the current Cincinnati Area Theatre Schedule