The musical comedy Pete 'n' Keely shows that no marriage—especially between gimmick and story—escapes tumult. James Hindman's script, an area premiere at Ambler's Act II Playhouse, casts the audience as a 1968 TV studio audience watching a live broadcast. After 13 gold albums, "Swinging Sweethearts" Pete (Todd Waddington) and Keely (Denise Whelan) split bitterly in 1963, and reunite now for the first time.

In their day, Pete 'n' Keely were "bigger than Little Ricky," an allusion provoking a chuckle from those of a certain age, and befuddlement from those too young to recall I Love Lucy.

The 130-seat Act II Playhouse makes a fun TV studio. We can see the stage manager's booth, where Jered McLenigan plays announcer Marty. Crew peek from the wings, and a live-feed monitor simulates the broadcast. Music director Frank De Monaco plays "orchestra" leader Del, who accompanies the show's mixture of original songs by Patrick Brady (music) and Mark Waldrop (lyrics), and standards like "Besame Mucho," and warms up the crowd with a "name that tune" routine. Director Ken Marini stages the action, which includes audience participation, effectively.

As expected, Pete and Keely's acrimony emerges amusingly even though, Marty warns, they're contractually allowed only scripted banter. "Those 12 years together," smirks Pete, "were three of the happiest days of my life."

The musical performances, choreographed by Whelan, provide the show's best moments, including a frenetic medley detailing their 1961 cross-country tour and a shamelessly lurid interpretation of "The Battle Hymn of the Republic." Their Broadway musical, Tony 'n' Cleo—yes, from Shakespeare's Antony and Cleopatra—is likewise wincingly clever.

While Whelan fully commits both to the smarmy period style and the predictable romance, Waddington—in trousers, giving his Harriet Levy schtick a rest—plays at it, not matching Whelan's sincere sappiness. He also strains vocally, making his crooner pose even more wobbly; though a likable performer, he can only push "Fever" to lukewarm, while Whelan's "Black Coffee" percolates with passion.

Waddington merely plays the gimmick—impossible to sustain for two hours—while Whelan knows that marrying comedy and pathos effectively depends on playing the story honestly. Her efforts almost succeed, but we're left wondering, in ways unintended by Pete 'n' Keely, what might have been.

Pete 'n' Keely Through Feb. 5,Act II Playhouse, 56 E. Butler Pike, Ambler, 215-654-0200, www.act2.org