Lark Theater Executive Director Ellie Mednick has made her dreams reality with the renovation of one of Marin’s most beloved entertainment venues. Thanks to her relentless hard work and the generosity of donors, the decades-old single-screen movie house has been reborn for more than film.

With a new stage — named for benefactor Vickie Soulier — and lighting and sound system, it’s not only ideal for movies but for live entertainment of many kinds, especially theatrical events and music. Both blend perfectly in Lark Theater’s current Broadway revue show “The World Goes ‘Round,” a celebration of the works of John Kander and Fred Ebb, the songwriting duo that gave the world “Chicago,” “Funny Lady,” “New York, New York,” “Kiss of the Spider Woman,” “Cabaret,” and many other blockbuster musicals.

Last year, Mednick produced a similar show: “Side by Side by Sondheim,” featuring the works of composer-lyricist Stephen Sondheim. As good as that production was — it was well-received by Marin audiences — “The World Goes ‘Round” is even better.

Choreographer-director Carolyn Hutchinson gets the utmost from a roster of five talented vocalists and performers: Noel Anthony, Ken Brill, Dyan McBride, Maureen McVerry and Emma Roos. With multiple award winner Dave Dobrusky backing them on piano — and with occasional clarinet interludes from Brill — the quintet sing and dance their hearts out to the delight of a capacity crowd in the elegant Lark Theater.

Roos slowly stalks onstage to launch the fast-paced 90-minute show. A high-intensity theatrical firecracker, McVerry then leads the pace with “Coffee in a Cardboard Cup,” one of Kander and Ebb’s many novelty songs, including “The Grass is Always Greener,” and “Mr. Cellophane,” a solo by Brill. “Sara Lee” is a hilarious group effort featuring all five — yes, a song about premade heat-and-eat pastries. It’s ridiculous and wonderful.

McBride lends a seductive element to the songfest with “Arthur in the Afternoon” with Anthony hamming it up as her boy toy du jour. Blessed with GQ good looks and a resonant deep tenor voice, Anthony wowed the audience with his take on “Kiss of the Spider Woman.” In their four decades of collaborating, Kander and Ebb delved into a huge range of emotions. Anthony and McBride explore romantic hope in back-to-back solos with “We Can Make It” and “Maybe This Time,” while Roos strikes a more dour note with “Isn’t This Better?”

Songs from “Cabaret” get wonderfully novel treatment in this show — especially the hyperkinetic “Money Song,” followed by the “Cabaret” theme song done in exquisite five-part harmonies — an unexpected interpretation perhaps not to the liking of traditionalists, but one that I found enthralling.

Al Mercado’s big bright projections behind the performers serve beautifully as a backdrop. The show is great fun not only for those who know the music, but should work well for newcomers, too. It’s a fabulous evening’s entertainment.

Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact him at barry.m.willis@gmail.com.