Marisol Vega is coming back to Broadway. After six years, that sentence alone would be the news. But read the rest of it, mija, because the rest is where it gets good: “Comet Season” is a brand-new musical, and it was written around her.

The Ambassador Group confirmed the production Monday. Book and lyrics by Dalia Fenwick, music by Tobias Renn, direction by Marcus Ojo. Spring opening, previews starting in March. Vega plays a retired lounge singer pulled back into a city she swore she was done with — which, if you have followed this woman’s career, is a joke the whole industry is in on, and a good one.

I want to be precise about why a star vehicle written for a specific performer matters, because the phrase gets thrown around like it’s a compliment when it’s really a risk. Most star vehicles are old shows with a famous name bolted on. This is the rarer, harder thing: a score built to a particular instrument. Renn has said he wrote the second-act number “in her keys, for her breath.” That’s either the most generous act of craftsmanship in the building or a trap, because a show tailored that tightly to one voice has nowhere to hide if the voice has a rough night. Pero Vega does not have rough nights. I’ve never seen her have one.

Here’s the specific thing she does that nobody talks about enough. Vega phrases against the orchestra. Where a lesser belter rides the downbeat and lets the pit carry her, Vega hangs back a half-breath, lands late, and makes you lean in to catch her. It reads as intimacy. It’s actually control. The last time I saw her — a benefit concert, six years ago, right before she stepped away — she did it on a ballad and the room, a thousand people in evening clothes, went dead silent. Not polite silent. Held-hostage silent.

Ojo directing is smart, and it’s a little dangerous, which I like. His instinct is toward restraint, toward letting a performer sit in stillness. That’s the right container for Vega — but “Comet Season” is being sold as a big, warm, old-fashioned Broadway night, and I want to be sure Ojo and the producers agree on which show they’re making. A restraint director on a razzle-dazzle marquee can go two ways. Ay, I’ve watched that mismatch sink better material than this.

So no, I don’t have notes yet — the thing doesn’t exist yet. What I have is a leading lady whose return is a genuine event, a composer who says he built the score to her body, and a director whose taste I trust. That’s a stronger opening hand than most musicals ever get dealt.

You should start thinking about this one now. Star vehicles this deliberate come around maybe twice a decade, and when the star can actually deliver, they become the night people talk about for years. Get ahead of the demand. I’ll see you there. Estamos aquí.

“Comet Season” begins previews in March at a Shubert house to be announced, with an official opening planned for April.