What’s not to like?

Tourists and the nostalgic should adore “Grease” in its limited engagement at the Kodak Theatre in Hollywood. This touring production of Jim Jacobs and the late Warren Casey’s loving 1972 satire of the 1950s is critic-proof and audience-friendly, particularly headliner Frankie Avalon, but let’s save him for the finale.

The original production weathered mixed reviews to become, for a while, Broadway’s longest-running musical, toting up 3,388 performances in all.

Randal Kleiser’s 1978 film version, the highest-grossing movie musical of all time, etched the show’s innocently crude iconography into the lexicon -- “Grease” was, indeed, the word.

With the 1994 Broadway revival, whose novelty casting kept it going for 1,505 performances, “Grease” became an unabashed franchise. The latest variant is the Kodak edition, which incorporates “Hopelessly Devoted to You” and “You’re the One That I Want” from the film.

It takes place in 1959 at the mythical Rydell High. Bad boy Danny Zuko (Jamey Isenor) and good girl Sandy Dumbrowski (Hanna-Liina Vosa), having met during summer vacation, are attracted opposites. He struggles briefly with jockdom, but she finally acquiesces.

The show’s popularity stems from Jacobs and Casey’s pastiche score rather than the notebook-paper thin narrative. From doo-wop (the expository “Summer Nights”) to rockabilly (“Greased Lightning”); from girl group (“Freddy My Love”) to “American Bandstand” anthem (“We Go Together”); these well-crafted songs define catchy.

Director Ray DeMattis and choreographer Christopher Gattelli maintain a proficient, industrial show pace. James Youmans’ sets and Mike Baldasarri’s lighting create striking effects (their proscenium has a life of its own).

Isenor occasionally struggles with the vocals but sure looks cute with the tiny, clarion-voiced Vosa, who is going places.

Jacqueline Colmer’s raucous Rizzo fuses Patti Lupone and Chita Rivera, while John Ashley’s Kenickie has a short-fused charm. Sarah Hubbard’s pert Frenchy, Arthur J.M. Callahan’s DJ (and audience emcee), Kirsten Allyn Michaels’ leggy Marty, Craig McEldowney’s hardy Doody, Kristen Bedard’s ravenous Jan and Brendan R. Murphy’s moon-happy Roger are other standouts.

The amusingly overbilled Avalon displays infinite good sportsmanship and a deafening fan base. He doesn’t appear until “Beauty School Dropout” in Act 2, at which point the audience reaction recalls V-E Day. Fortunately, his curtain call brings 15 minutes of his Vegas act, so everyone can scream some more.

While the cavernous Kodak is ideal for screaming, its aptitude as theatrical venue is more questionable. The sightlines are borderline acceptable (balcony dwellers should bring binoculars), but the acoustics are daunting, the necessary overamplification rendering many lyrics unintelligible.

This, along with an unusually intimidating house staff, sounds the main sour note in an otherwise harmless confection. A dance contest precedes every performance, and the whole prefabricated package is conveniently situated within walking distance of the Hollywood Wax Museum.

*

‘Grease’

Where: Kodak Theatre, 6801 Hollywood Blvd., Hollywood and Highland Entertainment Complex, Hollywood

When: Tuesdays-Fridays, 8 p.m.; Saturdays, 2 and 8 p.m.;

Sundays, 2 and 7:30 p.m.

Ends: Jan. 12

Price: $20-$75

Contact: (323) 308-6363;

(213) 365-3500; (714) 740-7878

Running time: 2 hours, 25 minutes