I have often decried the lack of big-time musicals in small towns, musicals like the ones you can only see on Broadway. But as the saying goes, “If you can't take theatergoers to Broadway, you can bring Broadway to theatergoers.” “Generation Broadway,” which opened last night at the Betty Long Unruh Theatre, does just that.

Conceived and directed by Melody Schwegel, “Generation Broadway” is an eclectic compilation of songs taken from some of the best of the past 10 years of Broadway musicals. Members of the “older” generation, myself included, are familiar with well-known musicals such as “South Pacific,” “Oklahoma!” and others you may remember without any prompting by me.

For those of us who have not had the opportunity to see or hear the more current crop of award-winning shows that are part of this production, this is a rare treat. There is no plot or story to distract from the pure joy of the music. Instead some of the songs represent social conditions rarely seen on the Broadway stage — poverty, coming to terms with being “gay” and racial political correctness. But none of this is presented as heavy-handed preaching. Instead the music and lyrics shine with humor, love and just pure fun.

Schwegel has put together a diverse group of singers and dancers drawn from various sources in the community.

The players include the very young (including her daughter, Alanna), the not so young, those a little older and those a lot older. They are tall and short, thin and round, narrow and wide, men and women, boys and girls.

It's hard to choose which performers stand out from a program that includes shows such as “Rent,” “You're a Good Man, Charlie Brown” and “Wicked.” Each has a unique talent and — as brought together and nurtured by Schwegel, music director Amanda Manning and choreographer Taylor Mead — they perform individually and as a group with style and exuberance. However, there are a few moments that do stand out, such as ““We Are the Altar Boyz,” which has very funny choreography, and “Everyone's A Little Bit Racist,” done with hand puppets and their quite visible ventriloquists. One number that almost brought the house down was a song and dance sequence from “Hairspray” featuring a hilarious turn by a male member of the cast playing a female impersonator. There's even a song from “Mary Poppins” with the entire ensemble in a great rendition of “Supercalifragilisticexpialidocious.”

Under the loving hands of Manning, the piano takes center stage and provides the character of the entire production. The only suggestion I have is to tone down the volume, which sometimes tends to overpower some of the softer voices.

Schwegel and a very funny Brian Simshauser introduce each number with a combination of banter and an ongoing battle of words. Their interplay includes a punch with a bloated fish that sends Simshauser sprawling, where he remains for the number “Not Dead Yet” from “Spamalot.” The evening ends with a joyous rendition of “White Christmas” by the entire cast joined by members of the audience.

Scenic design, costumes, makeup, lighting and sound all work to create the atmosphere and setting of a Broadway show. To accomplish this in the space of a “small” community theater is no small achievement. Small, however, is only a concept. Imagine the sights and sounds of Broadway and you will be transported to a place beyond the confines of a small theater.

If you're ready for an experience to warm your spirits in these wintry days, just fasten your musical seat belts and enjoy the ride.

Gail Gaston of Roseburg is a theater enthusiast who directs a senior acting group called The Prime Time Players.