THE exploits of the Tuskegee Airmen, the celebrated African-American Army Air Corps pilots of World War II, make for thrilling drama. If you think they can’t fit all this on a modest-sized stage, think again. Crossroads Theatre in New Brunswick has always had the vision and adventurous spirit to pull off such productions. And they certainly have a winner here.

   Trey Ellis and Ricardo Khan’s play, directed by Kahn, is billed as “a world premiere event,” although it previewed earlier this summer in Martha’s Vineyard. As Peg Schuler-Armstrong, production general manager of Lincoln Center Institute for the Arts in Education, points out in the playbill, a shorter treatment of the work debuted at Lincoln Center in July 2007. “When Rick and Trey indicated their interest in a longer version of the show,” she writes, “wherein we would have the luxury of time to delve into the characters and further explore their histories, motivations and experiences, we were thrilled.”

   In one act of 90 minutes, the small and multitalented ensemble does just that. But calling it a play hardly does it justice. In the spirit of so many productions on the Crossroads stage, Fly is a multimedia experience that calls on all the resources of the cast and crew. To begin with, it’s a percussion piece all on its own. Tap Griot (Omar Edwards) tap-dances out a mad cadence to open the first scene, and projections appear on a large screen that serves as the backdrop for all the action.

   Tap is a kind of one-man Greek chorus throughout the play, personifying what the men are feeling. He highlights their frustrations and anger, their pride and their ironic patriotism, all in dance.

   The frame is set at Barack Obama’s inauguration, where more than 180 of the surviving Tuskegee Airmen were honored guests. Bundled in a wheelchair, Harlem native Chet (Charlie Hudson III) reminisces about his experiences and his buddies, and the scene opens to a flashback. Three other recruits are introduced, all different in backgrounds and attitudes. But they share a passion to fly, and to excel. In a society that devalues their race, they yearn to break barriers and prove their worth: W.W. (Turron Kofi Alleyne), a zoot-suited Chicagoan from the South Side; J. Allen (Yaegel Welch), a West Indian whom the others call “Coconut”; and Oscar (Royce Johnson), who seems to harbor a seething anger.

   We see them vying for a position in this new aviation group, mandated by a 1941 Congressional order that black combat units be formed. (At this time, the U.S. Army was still segregated.) The War Department’s reluctant compliance is personified in the play by two white officers, Captain O’Hurley (Jeremiah Wiggins) and Colonel Snopes (Adam Greer). The competition for a spot is fierce; not only do the airmen need the skill to maneuver hard-to-handle combat aircraft, they also have to overcome white prejudice, not to mention regional prejudices among themselves.

   As O’Hurley tells them, the acceptance rate is only 69 percent, and he relishes creating dropouts. He resents this assignment as a sidetrack in his career. Gradually, we see the recruits bond together, even as they compete, finally mastering their training. Their combat flights climax in a harrowing mission to offer air cover for white-piloted bombers over Berlin.

   With a minimum of props and plenty of exciting projected images (including rare period footage of aerial combat), the cast conveys all the nail-biting action you could want. In fact, many of the scenes have the feeling and sentiment of familiar set-pieces in World War II films: There are the heroics, the wounded pilot on the edge of death, the trainee washout.

   And, of course, the white officers’ resentment gradually shifts to begrudging respect and finally admiration and camaraderie. These officers have entrusted their lives to black pilots who prove their mettle. This is shown with a large dose of humor as well as brilliant choreography by Hope Clarke. The projections by Zak Borovay, the sets by Sarah Lambert, the lighting by Brant Thomas Murray, the sound design by Ray Schilke, all deserve plaudits, as do the authentic costumes by Toni-Leslie James.

   As the action shifts back to the inauguration and Chet’s remembrance, there’s a lump-in-the throat moment. It’s the cap to struggles he and his buddies endured, on land and in the air. Regardless of your politics, it’s a stand-up-and-cheer moment that the audience really responds to. What an exciting play this is, and what a great way to kick off Crossroads’ season.

Fly continues at the Crossroads Theatre, 7 Livingston Avenue, New Brunswick, through Oct. 17. Performances: Wed. 10 a.m., Thurs.-Fri. 8 p.m., Sat.-Sun. 3, 8 p.m. Tickets cost $18-$65; 732-545-8100; www.crossroadstheatrecompany.org