Since it debuted on screens in 1976, Alan Parker and Paul Williams’ Bugsy Malone has proved a firm staple of the musical theatre scene. This tale of gang warfare, performed by a cast of children and featuring songs like ‘Tomorrow’, ‘Bad Guys’ and ‘So You Wanna Be a Boxer?’, has played on the West End a number of times, with a cast that has, at various points, included Catherine Zeta-Jones, Sheridan Smith and Jamie Bell. And now the Lyric Hammersmith, Birmingham Rep and Theatre Royal Bath have come together to revive this musical masterpiece.

Director Sean Holmes (a stalwart of the Hammersmith and Shakespeare’s Globe) marshals a production that brings a spirited energy to this familiar musical. Bugsy Malone pops with life, particularly during its sensational ensemble numbers, easily showing why Drew McOnie is an award-winning choreographer.

The decision to scaffold the younger cast members with an ensemble of trained performers is one of the cleverest the production has, taking some of the pressure off those in the lead roles. But that’s not to diminish their performances, as they are all exceptional, particularly Isham Sankoh’s Fat Sam, who holds court on some of the production’s best scenes.

From a technical perspective, this new production of Bugsy Malone is exceptional, bringing a glitz and glamour to the Playhouse stage. Props and set descend from above, whilst the cast gain a swagger as they don period appropriate attire. Jon Bausor's design marries effectively with Philip Gladwell’s lighting, with the whole package coming together with Susana Peretz’ exceptional hair and make-up and Ben Harrison’s sound work. They all work in tandem, helping to elevate and reintroduce the idea that Bugsy Malone can transcend the school hall and be brought back to a professional stage.

This production doesn’t quite escape the fact that Bugsy Malone is more compelling as a tale of gangsters then as a love story (as strong as Bugsy and Blousey are). But it does bring vitality to a musical that is over four decades old, awash (knowingly so) in genre tropes. By the time we reach the finale, there is a hope in the lyrics of ‘You Give a Little Love’ as we’re told “it’s not too late to change”. For all the fizzing energy that punctuates Bugsy Malone, there is a certain melancholic quality to watching children go through an expected narrative, as if stuck on a generational loop of loss and violence. There are moments here that tap into that, but the creatives feel more comfortable to shake this feeling off, as the finale gives way to an exuberant electro swing dance number. But one can’t begrudge the show for this as a reward for giving its audience such a joyful evening. You should not miss this gem of a revival.