Before "Buddy — The Buddy Holly Story" got underway on opening night at History Theatre, director Ron Peluso singled out an audience member, pop singer Bobby Vee. When Buddy Holly died in a plane crash in 1959 en route to a concert date in Moorhead, Minn., a 15-year-old wannabe pop singer went onstage in his place that night. That kid was Bobby Vee, who would go on to become a star in his own right. His presence in the audience at the History Theatre 55 years later added a nice touch of authenticity to a show that aims to re-create the aura of a musical legend.

Indeed, Holly's career seems so improbable that it's good to be reminded that "Buddy — The Buddy Holly Story" is based on real events. Alan Janes' play covers the last three years of the musician's life, from 1956 when he's singing country music in Lubbock, Texas, through his meteoric rise as he transitions into that dangerous new musical genre, rock 'n' roll, to his final concert in Clear Lake, Iowa.

There's not much to Janes' script in terms of depth or character development and History Theatre's production, its third since 2009, wisely focuses on the music itself to keep this production sizzling along. The first act culminates in the famous performance at the Apollo Theater, where Holly and the Crickets had been booked under the misapprehension that they were black musicians. After Lynnea Monique Doublette and Munyaradzi Tirivepi deliver a show-stopping rendition of "Shout" that's one of the evening's highlights, Holly and his bandmates go into four consecutive numbers, capped by a deliriously energizing "Oh, Boy." Similarly the second act culminates in a Clear Lake concert so contagiously appealing that it brings the audience to its feet.

Nicholas Freeman has returned in the title role, once again offering an energetic and accomplished performance. He brings a strong stage presence and demonstrates an uncanny ability to channel Holly's distinctive vocalizations. He's supported in fine fashion by actor/musicians Ryan Janssen, Zach Spicer and Blake Foster as the Crickets. Andrea San Miguel turns in an affecting performance as Holly's wife while Brant Miller is a hilarious clown as the Big Bopper.

Gary Rue's spot-on musical direction, with assistance from Andrew Fleser, and Jan Puffer's crisp and energetic choreography, along with Peluso's snappy pacing beautifully re-create the era and the ambience of excitement that surrounded young Holly's music. This solidly produced "Buddy" succeeds by focusing not so much on "the day the music died" as on how joyously Holly brought it to life.

Lisa Brock writes about theater.