The cast of "Grease" at Chanhassen Dinner Theatres delivers an electric performance that's a fitting tribute to director Michael Brindisi, who died two days before opening. (Dan Norman Photography )

He signed his name in electric song and snazzy dance.

Michael Brindisi, the director who died unexpectedly of heart failure on Feb. 5, two days before the opening of “Grease” at Chanhassen Dinner Theatres, took his final bow with a show that’s a fitting testament to his gifts.

“Grease” is suffused with the hallmarks of his signature style. Every sassy step and feisty shimmy speaks to his penchant for energetic and vital entertainment.

Brindisi also had a knack for finding wit and honesty in the shows, especially the chestnuts that he chose. He brought new sophistication and shine to titles that we think we know or that we take for granted.

“Grease,” which he acted in across the country in the 1970s and which he directed before, is no exception. This musical about Rydell High teens navigating their emotions around love, longing and belonging is executed with livewire gusto.

Sam Stoll and Dayle Theisen play Danny and Sandy in "Grease" at Chanhassen Dinner Theatres. (Dan Norman Photography )

Newcomers Sam Stoll and Dayle Theisen bring charisma and freshness to the romantic couple Danny and Sandy. Stoll deftly navigates the balance between Danny’s bad boy greaser and the soft side he shows to Sandy.

We get to witness his growth as he moves toward adulthood. Theisen also evinces Sandy’s gradual maturation as she steps into self-knowledge and power.

From the lust and longing of “Summer Nights” to “You’re the One That I Want,” the pair have a natural chemistry. Sure, it’s hard to rival John Travolta and Olivia Newton-John, who starred onscreen as the fun flirts. But these two do an admirable job, bringing their own verve to the iconic roles.

Kasano Mwanza, left, as Teen Angel is brilliant in the number "Beauty School Dropout." (Dan Norman Photography )

Kasano Mwanza has returned as Teen Angel, which he played in the previous “Grease,” and he’s making a strong argument to be Minnesota’s Andre De Shields. Dressed in white and wearing wings, Mwanza’s Teen Angel is a showstopper, blazing and bright on “Beauty School Dropout.”

There are other performers who have returned to a production choreographed with zest by Tamara Kangas Erickson and conducted ebulliently by Andy Kust.

But the beauty of this “Grease,” and the testimony that it provides of Brindisi’s eye, is that there’s lots to sing about in the small parts.

Rush Benson sizzles as Kenickie, singing and somersaulting off his car on “Greased Lightnin’.”

Anna Hashizume finds new colors and dimensions in Rizzo, a character with no filter that spews meanness every which way. Rizzo is generally off-putting because of her caustic nature, so it’s a testament to Hashizume’s honesty and the director’s guidance that we care for Rizzo in a moment of vulnerability and uncertainty around her pregnancy.

In fact, there are lots of little Easter eggs like that in the production. Maureen Sherman-Mendez sparkles as Cha Cha. As she executes Kangas Erickson’s frolicsome choreography in spectacular style, Sherman-Mendez advances the story while giving us a new view of what has traditionally been a throwaway character.

KateMarie Andrews’ Frenchy sounds nearly believable when she tells us an innocent version of how she got her name. Angela Steele gives Marty a snappy edge that aligns with Alan Bach’s Sonny, another sharply drawn sparkplug.

Actually, we could go on with Suzie Juul as Jan and Evan Tyler Wilson as mooning king Roger, both delivering with wit. And don’t forget Eric Romero as dweeby square Eugene, Kim Kivens as uber-stern Miss Lynch and Michael Gruber as a Vince Fontaine, the announcer who’s totally in love with the sound of his own voice.

The point is, they’re cooking with “Grease,” a show that because of the circumstances around it and its own merit will be etched in memory.