Idina Menzel, “Drama Queen.”

Powerhouse vocalist Idina Menzel moves from the Broadway stage to the dance club on her seventh studio album, Drama Queen.

The pop-centric project involved some of the biggest songwriters and producers in the game, like Nile Rodgers and Justin Trantor. There are plenty of self-referential lyrical moments, even the album title itself, giving a wink and a nod to Menzel’s past on stage and screen. Menzel has always found support from the LGBTQ community, and Drama Queen celebrates that with an album big on ’90s-influenced dance floor anthems.

Opener “Move” is a declarative statement of individuality and an energetic synth-heavy track to get things off the ground.

“So tonight, it’s my turn/ Yeah, I’m taking center stage/ ‘Cause tonight I come first/ If you’re standing in my way,” Menzel sings. Musically, it’s a little Dua and a little Gaga; danceable but also understated and not overpowered by the production.

The pulsating beat on “Beast” is a throwback to the ’80s, a building beat crescendoing into the anthemic chorus. The Tony-winning singer sounds mostly comfortable in shifting from the soaring and technical vocals of Broadway to the world of pop music.

The dark pop of “Dramatic” is one of the best tracks on the nine-song set. Menzel lets loose, showcasing her impressive vocal prowess. The shift from the darkly subdued verses to the explosive synth-focused chorus is plenty fun. Are the theatrical references on this song, on an album called Drama Queen, a little much? Maybe, but it doesn’t take away from any of the momentum.

“My Love for Life” is a breezy and soulful pop anthem that really excels on the dance aesthetic. It tones down the club synths for more of an organic guitar- and bass-focused arrangement.

On the intro to “Paradise,” Nile Rodgers makes his appearance.

“I want everybody to put your hands up for Idina Menzel,” he announces in a velvety voice, then adding his signature chucking guitar playing. Menzel takes on a more understated vocal, with smooth harmonies and a cool disco sound. The song is bright and fun, and Rodgers’ contribution is evident, adding an extra pop flair.

The defiant “Make Me Hate Me” is surprising in that it’s a self-empowerment anthem that has Idina Menzel again standing up for herself.

“You can make out to be a sadistic drama queen/ But you can’t make me hate/ You can shit-talk all you please/ But you can’t make me hate me,” Menzel sings. That message is paired with a slick pop sound and still works as a battle cry.

Ironically, the vocals on “Funny Kind of Lonely” feel a little bit closer to Menzel’s Broadway roots, but fused with the synth-laden backbeat, it sits squarely in new territory. Menzel sounds comfortable in this space, like she’s in the best of both worlds.

The bass-heavy “Royalty” takes things right back to the dance floor with the disco ball spinning above. Menzel doubles down on the empowerment with the uplifting tune about achieving one’s potential without boundaries.

The album closes out in a more familiar space, at least to start. Starting as a piano-laden ballad, “Madison Hotel” explodes into a danceable disco pop track that’s one of the better moments on the album, with Menzel even adding a little bluesy swagger.

Follow writer Mike DeWald at Twitter.com/mike_dewald.