Just listening to Tricia Marciel sing in the title role of Neil Simon’s "The Goodbye Girl" at Diamond Head Theatre is worth the price of admission, and the audience doesn’t have to wait long to get its money’s worth.

As dancer Paula McFadden, who is abruptly dumped by her actor boyfriend, Marciel kicks off the show by delivering three diverse numbers in the first two scenes alone. She ably handles Paula’s emotional range as a committed mother, duped lover and discouraged dancer, revealing her vulnerability late in the first act with "How Can I Win?"

"The Goodbye Girl" is a musical adaptation of Simon’s Oscar-winning 1977 film starring Richard Dreyfuss and Marsha Mason. The overlooked 1993 Broadway show starred Martin Short and Bernadette Peters.

John Rampage directs and choreographs the DHT production, which opens with Paula and her young daughter Lucy left only with the Manhattan apartment her ex-boyfriend has sublet — without Paula’s knowledge — to Elliot Garfield, an actor new to the city. After a territorial battle, Paula and Elliot agree to cohabitate while she looks for a job and he stars in an off-off-Broadway production. Conflicts arise but romance soon blossoms, complications included.

Set designer Willie Sabel and DHT’s production team deliver the urban feel of Manhattan, from the brownstone apartment building where the three lead characters reside to Central Park and various rehearsal and theatrical locales. Sabel designs a realistic residence for the trio that easily accommodates the onstage activity.

Musical director Megan Mount solidly leads the small but mighty instrumental ensemble. Composer Marvin Hamlisch and lyricist David Zippel packed both acts with music, providing several opportunities for the eclectic ensemble of dancers to strut their stuff. The delightful spoof on exercise guru Richard Simmons showcases Paula and friends as a dancing cupcake, hamburger and fries. Karen G. Wolfe’s imaginative costumes deserve special kudos here.

The plethora of numbers combined with the frenetic energy and rapid-fire dialogue of Simon’s characters sometimes make the show feel like it is trying too hard to please. But as the plot progresses, Simon’s facile and realistic dialogue becomes more plausible and engaging. The characters have eccentricities and imperfections but are basically good-hearted and likeable.

Stephanie Zaharis captures both Lucy’s spunkiness and sincerity, and her naturalness onstage is refreshing. The talented young actress sings flawlessly in eight numbers, kicks up her heels when necessary and carries on believable conversations with adults and her own friends.

As the dedicated but quirky actor Elliot, Pedro Armando Haro energetically tackles the demanding role head-on. He wins Paula’s heart with his improvised love song in the sweet rooftop scene and wins the audience over with "I Can Play This Part," performed as he solidifies his relationship with Lucy in a Central Park canoe.

Big laughs are provided when Palo­ma­linda Goodwyn’s sassy landlady rocks the house with her bluesy "2 Good 2 B Bad." Mathias Maas as the eccentric Budapest director of Elliot’s play "Richard III" is another audience favorite.

"The Goodbye Girl" is an enjoyable outing, offering a spicy romantic story about a couple of decent people who take life on in an honest and relatable way.

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Jane Kerns is completing a doctorate in musicology at the University of Hawaii, holds degrees in theater and vocal performance, and has performed as an actor and singer in New York.