Electric, infectious, exhilarating and entrancing, the 'baby' that Michael Courtney first brought to the Guildhall four years ago has grown immeasurably into a sophisticated child.

The original building blocks are still clearly to be seen, but the raw, earthy panache of the early shows, brash and shiny satin, has been superceded and it now wears clothes of pure silk draping seductively around out musical souls.

This is not simply a parade of songs but a multitude of shows within a show, delightfully choreographed and wonderfully costumed.

Michael's superb tenor voice has developed, too, taking on a silkiness of its own, becoming sweeter in the higher register, sensual, mature and more rounded throughout.

Quality of voice, however, is not his preserve alone, with the rest of the cast – Mark Carnell, full of cheeky chappiness, Louise Rosemary Geater, Kyia Grandi and Lauren Wood all having voices that could grace any stage in the world – a claim not made glibly.

Each possesses the often elusive ability to produce power without harshness and to sing softly without the words hiding.

This is a team that bears the hallmarks of being brought together with the utmost care and thought for balance and harmony. And what deliciously smooth harmonies they were, even in the big boomer numbers! Credit there to the sound man for cleverly keeping the recorded music at a level beneath the singing.

Lauren Wood, in particular, showed her diamond-sharp diction in her truly delightful singing of Don't Cry for me Argentina, and her incredible range in the almost ethereal duets from Phantom of the Opera, with Michael, that have become part of the unalterable framework of the show.

But the format, while remaining ostensibly unaltered, has introduced many subtleties, including an unusual opening. Behind the curtain chit-chat as a taster to what lay ahead, was followed by a few bars of There's No Business Like Showbusiness a cappella from Michael, before launching into the all-singing, all-dancing show complete with mesmerising light effects – that almost seemed a show in their own right.

It perhaps caught the audience with their socks down and it took most of the first half for them to warm to responsiveness.

But it was a delight to see how the cast worked hard to stoke the fires of enthusiasm, Michael, in particular, showed his skill and years of experience, dipping into a bagful of old chestnut-style humour, to gently, but persuasively, tease the audience to a high little by little, so that by the time the fiery Blues Brothers opener to the second half arrived they were red-hot, too.

When there are no lows in a show it is merely left to judge how high are the highs. Those in this show are in the stratosphere.

It is a true flavour of the glitz, glamour and thrill of a West End production that only struggled in trying to squeeze such a big, BIG show on to so small a stage. It's a fabulous more-than-two-hours of entertainment of the highest quality that just seems to get better and better.