Before the curtain rose for the start of the Oriental Theatre’s current traveling production of Charlie and the Chocolate Factory, the sole image onstage was a giant silhouette of the character most associated with the beloved tale — a tale told in Roald Dahl’s original novel, in two Hollywood films, and of course now as a Broadway musical — Willy Wonka. Said character, having been famously portrayed by famous folks Johnny Depp and Gene Wilder, has not only long coopted this story of a young boy and a visit to a confectionary facility, but even its title in the Wilder movie. That being said, this tendency to focus on Willy Wonka detracts from what is Wonka’s magical Chocolate Factory and the oddballs and delights within.

So, when the curtain did rise and this particular production began, I was happy to see that it lovingly focuses on Wonka’s whole world. Don’t get me wrong — Noah Weisberg is just fine as Willy Wonka. I told my daughter at intermission that I thought he was perhaps too understated, as I’ve come to expect an overbearing Wonka. That changed a bit in the second act, as Weisberg reminded me a bit of some of Groucho Marx’s Rufus T. Firefly or Captain Spaulding, with his witty asides and exaggerated pacing and prancing. But overall Weisberg stayed out of the way and let the set and his castmates shine.

Henry Boshart is charming as the titular Charlie, providing that rare but happy balance in a child actor that is neither too precocious and polished, nor too amateur. I’d be curious to see how the other two Charlies in this traveling show do, but Boshart does a fine job. His chemistry with James Young’s cuddly yet curmudgeonly Grandpa Joe seems real, as does his connection with Weisberg’s Wonka.

The rest of the cast, however, are allotted the real fun. Jessica Cohen is a Russian Veruca Salt (her father a timely oligarch played by Nathaniel Hackmann), and puts her background as a ballerina to use as she pirouettes and pouts all over the stage. Also timely is Brynn Williams’ social media star, Violet Beauregarde, who’s afforded a dance number of her own. Daniel Quadrino’s Mike Teavee is a modern take on Dahl’s character — an ADHD kid fed a steady diet of screentime and pills from his harried mother. My favorite golden ticket winner was Matt Wood as gluttonous German youngster Augustus Gloop.

But it’s this production’s ensemble that push Augustus and the rest over the top, whether accompanying his polka in leiderhosen and beerhall maid outfits, breaking it down as Violet’s flygirls, or putting on a ballet clinic clad in furry squirrel outfits as bad nut Veruca meets her fate in the Wonka factory’s nut-sorting room. These unsung singers and dancers bring Wonka’s world to life, making it a shiny magical place just as much as the production’s set designers do.

And that set…my daughter, a bit of a set designer her own young self, was amazed at the ingenuity on display at the Oriental. The stacked bed and bedraggled shack where Charlie and the rest of the Bucket family lives. The gates to the chocolate factory. The TV world where Mike Teavee meets his fate. And the Oompa Loompas…

I won’t spoil it, but the portrayal of Wonka’s staff is modern, both in its consideration and its execution. Again, what a set and what an ensemble!

So, if you want a new take on an old favorite, a candy confection, a loving and overall satisfying take on the people and places who’ve done as much as chocolate bars to make Willy Wonka’s name, head to the Oriental Theatre for Charlie and the Chocolate Factory, now through October 21.