‘Jersey Boys” is a big “get” for Selma Arts Center. The company hasn’t wasted the opportunity to boast the local premiere. This new production, which runs through June 29, is savvy and heartfelt. At many times, my eyes adored it – and, even more so, my ears.

Here’s a rundown:

The pedigree: “Jersey Boys” was a massive hit on Broadway for many reasons, including geography. (Think of all those Jersey Grandpas and Grandmas making the trek to Manhattan to genuflect to their roots.) But it’s also a standout in the jukebox-musicals genre because of its smart book and punchy subject matter. The origin story of The Four Seasons and the band’s top crooner, Frankie Valli, is a heartfelt tale: Born in a snug ethnic Italian-American neighborhood, weaned on petty crime, steeped in machismo as thick as a good bolognese, and ultimately launched on a redemptive journey from scrappy long shot to superstardom, this group and its baby-voiced lead singer makes a compelling narrative. Along the way we get the angst you’d expect whenever money, fame, groupies and an endless life on the road combine.

The songs: The other key to the musical’s success, of course, is the Four Seasons song catalog. From “Sherry” and Walk Like a Man” to “Workin’ My Way Back To You,” the hits keep coming.

The difficulty level: Very high. Most important, of course, is nailing the Four Seasons sound. (More on that in a moment.) From a staging standpoint, we’re talking about a rapid timeline spanning decades, demanding period details and costuming, an overflowing musical score with precision choreography, and a bunch of secondary characters played by a small but valiant ensemble. Through it all, director Ben Sells and assistant director Scott Chapman make some strong choices, particularly in their snappy pacing.

Frankie: The show is double-cast in the leading role, and it’s easy to see why: By the time Frankie gets through “Fallen Angel” late in the second act, his voice has run a falsetto marathon. I saw the show the first weekend with Thomas Hayes playing Frankie. (He’ll play the role again June 21-23. Meanwhile, Adrian Ammsso performs June 27-29.) Hayes is vocally impressive. At the performance I attended, he was in very fine voice, with a purity and smoothness of tone that reminded me of an electric knife slicing through a tender cut of meat. To complement his performance, however, Hayes needed to bring more confidence to his dance moves and a peppier, happier attitude to the concert stagings. I couldn’t shake the impression that he was focusing so much on his intricate footwork that he couldn’t wipe the look of concentration off his face.

The other seasons: Jonathan Wheeler, Sean Hopper and Tristan Beck play the trio at all performances. Vocal director Terry Lewis coaxes a strong blend that more than suitably pays homage to the band’s trademark harmonies.

The acting: Standouts are Wheeler’s Tommy DeVito, bad boy of the group, whose petty-crime shenanigans – which he never outgrows – provides the evening’s rough-and-tumble emotional ride. There was never a moment on stage when Wheeler didn’t bring a fully formed character to the audience. Hopper brings a smooth, earnest charisma to Bob Guadio, the group’s talented songwriter. Among the ensemble, Avalon Lone (playing, among others, an amped-up Joe Pesci) and Zanna Wyant (playing, among others, Frankie’s long-suffering wife), are impressive.

Creative team: Stevie Barnett’s costumes feel nimble and richly realized, and Dan Aldape’s lighting design, with its splashes of illumination amongst a predominantly dark palette, help sets the hazy-memory quality of the storytelling, with the band members offering slightly different takes on the origin story.

The live music: What a treat! Band director Jack Landseadel and his musicians more than keep up with the talented singers. Sterling Oliver’s sound design provides a nicely balanced listening experience, with the percussion never overwhelming the vocals.

Room for improvement: The opening number, “Ces Soirees La,” meant to serve as a present-day framing device by showing the worldwide popularity of The Four Seasons, came across as tentative both in terms of choreography (credited to Savannah West and Morgan Blackburn) and attitude. Indeed, much of the choreography throughout the show is just shy of the precision and confidence that it requires. Other smaller moments lack the crisp, polished production values that I associate with Selma productions. Example: a creased red tablecloth makes several unwelcome appearances; its haphazard placement on the table draws even more unwanted attention. It’s a tiny detail, but it’s those details that can mean the difference between a solid and just-slightly-less-than-solid production.

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The general effect: Still, the above are minor detractions. Overall, this is an ambitious and well realized production that serves as a handsome tribute to a beloved musical group. The big spark comes when Bob Gaudio joins the group, and the four sing “Cry for Me.” The magic begins when you hear those four voices together for the first time. Time and again, I was wowed in this production by those vocals. To riff off Carole King, who has a sterling jukebox musical of her own, the sound of winter, spring, summer and fall becomes a powerful blend.