As Reno Sweeney, Sutton Foster may not have the powerhouse belt of Ethel Merman or the roof-shaking authority of Patti LuPone. But she’s got one thing that her predecessors didn’t. She’s got legs.

When this dazzling musical comedy performer aims those shapely, seemingly endless gams to the sky in the new revival of Anything Goes, it now makes perfect sense for her character to sing “I Get a Kick Out of You.”

Director/chorographer Kathleen Marshall’s effervescent production of Cole Porter’s 1934 musical features the sort of elaborate production numbers combining precision dancing and joyful exuberance that send you onto the street with a smile on your face. Add to that the classic score (augmented with songs written for other musicals), a gleefully silly, old-fashioned book and some first-rate comic performances, and you have an evening of musical comedy that is, to quote one of its composer’s famous songs, “Easy to Love.”

The plot, involving star-crossed lovers, crooks on the lam, and a dotty, near-sighted millionaire all coming together on a luxury liner crossing the Atlantic, is negligible. No wonder, with so many cooks in the pot: the original book written by P.G. Wodehouse and Guy Bolton was quickly revamped by Howard Lindsay and Russell Crouse and was then further altered by Timothy Crouse and John Weidman for the 1987 Lincoln Center production.

But the genial air of silliness never dissipates however hoary the jokes. And what does it matter, with a score featuring such songs as “You’re the Top,” “Friendship,” “It’s De-lovely” and the title tune.

Foster, who’s previously specialized in ingénue roles in such shows as Thoroughly Modern Millie and The Drowsy Chaperone, isn’t a perfect fit for the part of former evangelist turned tough-talking nightclub performer Reno Sweeney. But she carries the day anyway, thanks to her clarion vocals and boundless energy that infuses such show-stopping numbers as “Blow, Gabriel, Blow.”

Not everyone in the large supporting cast is up to her level. Colin Donnell is bland as Billy Crocker, the young stockbroker who stows aboard the ship to pursue Hope Harcourt (Laura Osnes), the pretty debutante with whom he’s fallen hopelessly in love; Joel Grey milks his cutesy shtick too shamelessly as the gangster Moonface Martin; and Jessica Martin is largely wasted as Hope’s gold-digging mother.

 But there are standout comic turns by the veteran John McMartin as the hapless tycoon and especially Adam Godley as the foppish English lord that Mrs. Harcourt has snared for her daughter’s betrothed. The duet between the similarly long-limbed Godley and Foster on the comic number “The Gypsy in Me” is but one of the evening’s many highpoints.

Derek McLane’s art-deco sets and Martin Pakledinaz’s old-fashioned, color-coordinated period costumes add further to the merriment, while Michael Gibson and Bill Elliott’s orchestrations and Rob Fisher’s vocal arrangements do full justice to the lustrous music.

Stephen Sondheim Theatre, 124 W. 43rd St. 212-239-6200. www.telecharge.com.