Yet from the tragic 1840s potato famine to a haunting, modern U2 anthem, Pulitzer Prize-winning author and former history teacher Frank McCourt's richly narrated, musical history lesson, "The Irish ... And How They Got That Way," is pure enjoyment.

"An exuberant, mostly Irish cast enacts McCourt's wide-ranging material that sizzles with outrage, wit, pride and, of course, sentiment. The Irish Repertory Theatre's off-Broadway revival is timed to the one-year anniversary of McCourt's death at age 78.

Charlotte Moore, artistic director of the Irish Rep, has cohesively and artfully staged the work, with cast and musicians onstage in a storytelling grouping. Spirited narration of McCourt's irony-tinged version of Irish history _ combining fact, folklore, stereotypes and blarney _ is interspersed with snippets or full productions of many familiar Irish songs, often accompanied by lively dancing.

The talented ensemble consists of the charming lead narrator, Gary Troy, polished tenor Ciaran Sheehan, the expressive Terry Donnelly, clear-voiced Kerry Conte and Patrick Shields on violin. Thoughtfully chosen music, originally arranged by Rusty Magee, is performed under the musical direction of Kevin B. Winebold, who plays the piano and joins in the singing.

Act 1 grimly describes British oppression and the tragic toll in Ireland of the potato famine, which resulted in a huge migration of nearly 2 million Irish to America in the mid-1800s.

The early Irish-American experiences are told, sung and danced in the much brighter Act 2, which also covers injustices such as initial prejudice against the immigrants _ "No Irish Need Apply" _ followed by hard work and triumphs.

The troupe is backed by atmospheric projections of historical paintings, newspaper articles, letters, and black-and-white photos, yet the warmhearted production never feels like a documentary.

The cast vividly extolls the horrors that occurred in Ireland, as well as the gifts to America of great Irish entertainers, writers and politicians. And it relates the hard-won achievements of the early Irish-American labor force, and Irish military sacrifices in American wars, including the Civil War.

McCourt addresses some reasons for all the "alcoholic indulgence" and brawling by the homesick immigrants, including the simple explanation, "There were two types of people the Irish did not get along with. The Blacks and the Whites."

Sheehan performs and sings with perfect eloquence, providing a lovely, restrained rendition of "Danny Boy" and a stirring duet with Troy on the labor anthem, "The Ghost of Molly McGuire." Troy flavors his narration and vocals with personality and flair.

Donnelly sings delightfully, especially in "Finnegan's Wake." Her wry delivery is perfectly suited to McCourt's droll historical recitations and slight exaggeration of Irish accomplishments: "We built the sidewalks, the roads, the subways _ and, as ye might remember, we played a leading role in the labor movement."

This production of "The Irish ..." fully succeeds as a soulful, often rollicking journey through 150 tumultuous years of Irish-American history.