Nashville meets Broadway and scores a hit in The Pines Dinner Theatre production of “The Honky Tonk Angels,” a clever and highly-entertaining blend of country music classics and storytelling written by Ted Swindley, author of the popular musical “Always … Patsy Cline.”

The talented cast of three women sing, joke and jibe their way through monologues and more than 30 songs at the Oct. 19 performance seen for this review. Performances continue through Oct. 23 at The Pines, 448 N. 17th St., Allentown.

“The Honky Tonk Angels” is loosely based on the acclaimed 1993 album of the same name that teamed Dolly Parton, Loretta Lynn and Tammy Wynette. Swindley almost seamlessly fits into his script the lyrics from the album along with many other well-known country songs in order to articulate the plot and carry it forward.

The characters in the musical are Angela (Erin Baltsar), Darleen (Stacey Yoder) and Sue Ellen (Stephanie Rubeo), who are costumed to look suspiciously similar to the stars of the album. All three characters want to “fly away” to a better place and a better life. They meet coincidentally on a Greyhound bus to Nashville, aka Music City, join forces, and get a gig singing as The Honky Tonk Angels at Hillbilly Heaven.

The musical, like the album, features solos and harmony vocals of classics, such as “Silver Threads and Golden Needles,” “Sittin’ on the Front Porch Swing” and “I Dreamed of a Hillbilly Heaven.” The stage version, however, goes way beyond the album’s original 12 songs, offering rousing, often hilarious versions of “9 to 5,” “Rocky Top” and “Harper Valley PTA.”

Each of the impressive cast members provide unique talents to the ensemble. Baltsar, as the harried mother of three with the unappreciative husband and infectious cackling laugh, starts out declaring “Stand by Your Man.” Rubeo is the blonde secretary with the lecherous “9 to 5” boss she describes as making Saddam Hussein look like Andy of Mayberry. These two are the comics of the show, flirting, teasing and playing to the audience. Baltsar’s monologues are hilarious, and Rubeo is at her best teasing the men in the audience.

One highlight of the evening’s performance was the cast cavorting in Egyptian-style costumes to “Cleopatra, the Queen of Denial,” but just when things were at their craziest, the trio pivoted and delivered a beautifully sensitive a Capella rendition of “Amazing Grace.”

The women have wonderful singing voices that blend well together. Yoder, however, has a special intensity and passion, punching out songs like “I will Always Love You.” She’s the serious anchor to the cast as the frightened young girl grieving for her boyfriend Billy Joe McAllister, who had committed suicide by jumping off the Tallahatchie Bridge.

The cast is more than ably supported by musicians Stacy Bechtel, electronic keyboard; Zach Martin-John Seremula, drums, and Gene Fries, guitar. They provided just the right accompaniment without overpowering the singers.

Most of the musical is meant to be campy humor, which director Oliver Blatt showcases excellently. He also preserves the underlying message. The characters of Angela and Darleen and Sue Ellen represent women, who like themselves, are trapped in loveless relationships, drab existences and hopeless futures. All three women have had to leave something behind in order to search for their dreams. In the end, they find out what really matters to them.