(via NYTimes) Steady work has been scarce for actors in gorilla suits since “The Electric Company” went dark in 1977.

But all that changes this week as shooting begins in Washington Heights and the Lower East Side on an ambitious reboot of the PBS literacy series that turned on a generation of schoolchildren to the rudiments of reading. The first graduates of “Sesame Street” found in “The Electric Company” a companion piece that relied on pun-filled sketches, Spider-Man cameos, and lots of primate shtick, all backed by a Motown beat.

Refitted for the age of hip-hop and informed by decades of further educational research on reading, the 2009 version of “The Electric Company” is a weekly, more danceable version of its former daily self. The series, which is expected to make its debut in January, faces challenges the original never did (trying to stand out amid so much children’s programming and to shake the stigma of educational television) as well as familiar ones (trying to make reading a positive experience for youngsters).

“It’s the old one mixed with ‘High School Musical’ and a Dr Pepper commercial,” said Linda Simensky, senior director of programming for PBS Kids, a block of children’s shows that will include “The Electricity Company.” There’s a touch of “Fame” to it, given its cast of culturally diverse city kids who sing and dance, as well as nods to the original series. (A cameo has been offered to Rita Moreno, a regular on the original “Electric Company,” remembered for her show-opening exultation, “Hey, you guyyyyys!”)

Sesame Workshop, the nonprofit media corporation formerly known as the Children’s Television Workshop, will once again produce. As before, when the show began in 1971, it is still directed at viewers 6 to 9 years old.

In keeping with the original show’s ties to theater (many in the cast, like Morgan Freeman, had stage backgrounds), the new head writer is a Tony-Award-nominated playwright and lyricist, Willie Reale, with experience in children’s theater (“A Year With Frog and Toad”).

In the first episode Mr. Reale establishes the show’s conceit: Somewhere in the big city lies a natural-foods diner that is headquarters to a not-so-secret society known as the Electric Company. The four semi-superheroes who meet there — Keith, Jessica, Lisa and Hector — have pledged not only to use their powers for good but also to eat sensible portions of healthy meals. The gang ranges in age from 13 to 20 and can scramble, recall, project and animate words in astounding ways.

Plotting nefariously is a clutch of comical misfits and poseurs known as the Pranksters. “They’re villains without being villainous,” said Scott Cameron, the show’s research director, “just neighborhood kids who cause chaos.”

The Sesame Workshop hopes to raise $25 million for the project, $17.7 million of which has been provided by the Corporation for Public Broadcasting through the federal Department of Education. Twenty low-income, low-literacy pockets across the country will also be the focus of an extensive outreach program in the months leading to the show’s premiere.

“There will be billboards, bus ads, notices in their dollar stores, television and radio ads, all about the power of reading,” Randell M. Bynum, who is coordinating the outreach, said. “When the show comes on in January, these communities will have already been primed to the importance of reading and bombarded with resources.”

Ms. Bynum, along with the production team and cast members, has been testing strategies at P.S. 188 on Houston Street in the Lower East Side. A group of that school’s students in first through fourth grades recently screened a 30-minute demonstration of the series, which included a music-video tribute to the transformational power of the silent E, the sneaky letter that can turn cap into cape and at into ate.

Music for the series will come from three people involved in the Broadway rap-salsa-pop musical “In the Heights”: the director Thomas Kail, the co-arranger and orchestrator Bill Sherman and the actor Christopher Jackson.

In a category by himself is the beat-box artist Shockwave (Chris Sullivan). Besides slinging hash at the Electric Diner, he speaks in one-word bursts only — no sentences — and appears in guises like the much missed gorilla and a butcher who cleaves words. But it is his D.J. routine that may be mimicked on playgrounds next year. He appears to be scratching syllables from dueling turntables to form words. It all emanates from his “bruh-bruh-AIN, bruh-bruh-AIN, brain.”

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