Most musicals warrant some applause, but has there ever been more fervent audience clapping than the ovation to save the life of Tinkerbelle?

These days Spider-Man: Turn Off the Dark features more aerodynamic feats, but is there a moment in all of musical theater as joyous as the fairy dust-fueled initial lift-off of Wendy, Michael and John Darling?

Peter Pan, the 1954 musical that was broadcast on the new-fangled invention called television a year later, was probably the introduction to theater for much of the Baby Boomer generation. For the past 20 years, though, the mantle of “the boy who wouldn’t grow up” has been worn with aerial gymnastic skill by former Olympian Cathy Rigby.

Now pushing 60, Rigby has obviously found a way to stay young with the role, just like her character. More importantly, the show itself retains its ability to transform adults into kids for a couple of hours. That it also makes a terrific introduction for tots to the addictive world of musicals is a nice bonus.

The story, of course, is J.M. Barrie’s confection about the boy from Neverland who befriends and captivates a trio of proper British youngsters, flying them away to his homeland to tussle with pirates, Indians and a siren-like mermaid.

After such a formidable Broadway talent as Leonard Bernstein tried and failed to capture the tale onstage, Carolyn Leigh and Moose Charlap — aided by Betty Comden, Adoph Green and Jule Styne — spun it into gold with such memorable tunes as I Gotta Crow, I’m Flying and I Won’t Grow Up.

Always appealing and acrobatic in the title role, Rigby is now a genuine stage star, a boyish rascal with a built-in spotlight, a performer who demands and earns our attention whenever she is on — or hovering over — the stage.

That mega-wattage comes in handy, because when Rigby is offstage, the production is rather pedestrian. The rest of the sizeable cast is unexceptional and director Glenn Casale — veteran of a couple of Rigby’s Peter Pan tours — will never win a prize for storytelling clarity.

Also long associated with Rigby’s tours is choreographer Patti Colombo, who has edited out the political incorrectness from the Indian numbers, in favor of something out of Las Vegas lounges. Her best work is seen in the extended dance and percussion sequence to Ugg-a-Wugg, early in the second act, in which Rigby seems to be prepping for a stint in Stomp.

Brent Barrett, a conventional leading man, doubles as Captain Hook and Mr. Darling, but misses some of the essential comedy is each role. Krista Buccellato sings sweetly as Wendy, who becomes the Lost Boys surrogate mother. Cade Canon Ball and Julia Massey are quite capable as John and Michael — the latter being a cross-gender twist in addition to Rigby’s Peter.

If you measure Peter Pan by the performer playing the part — and why not? — then Rigby handily flies this week’s Kravis Center show into the winner’s circle. And do not be in such a hurry to bolt out of Dreyfoos Hall at the show’s conclusion. Rigby tops her already impressive flying feats during her curtain call.

PETER PAN

B+

Where: Kravis Center Dreyfoos Hall, 701 Okeechobee Blvd., West Palm Beach.

When: Through Sunday

Tickets: $25 and up. Call: (561) 832-7469.

The verdict: Rigby’s aerial acrobatics and solid musical theater skills make this classic show a joy for Baby Boomers and first-time theatergoing tots.