Does a musical have to break new ground in order to be considered a success? It’s true that Broadway has seen some exciting evolution lately in the form of “younger” works like Spring Awakening and In The Heights. But in an era that’s largely been dominated by jukebox musicals and cinematic retreads, it’s refreshing to see a new production that feels like a return to the old form, and a triumphant one that’s neither nostalgic nor ironic. Good musicals are hard to write, and it’s perhaps not surprising that such a work come from some of the old masters, Kander & Ebb.

The Visit, now being staged at Signature Theater, isn’t completely new – it’s been rattling around for awhile, never really finding a New York home since its Chicago debut in 2001. And while Kander & Ebb protégé Chita Rivera starred in that incarnation as well, it’s hard to imagine, seeing her now, how her imposing, cigar-puffing turn didn’t help propel the work to more success back then.

In The Visit Rivera is Claire Zachanassian, who became the richest woman in the world by marrying well and marrying often, as she says. She’s returned to her economically-depressed hometown, who hopes she will save them, and she will; for a price. Zachanassian’s life hasn’t been easy, despite her wealth, and she has a wooden leg; seeing one of the world’s great dancers playing a lame woman has a freakishly mesmerizing effect, and Rivera has enough control over her body to make it work, even when elegantly dancing around the injury.