The recent revival of “The Music Man” which has opened at the Winter Garden Theater comes to the stage with some good news for fans of a certain celebrity, and some bad news for avid theater goers looking for an astounding reincarnation of this classic musical. Audience members who have come to the theater to see the megastar, namely Hugh Jackman, will be delighted with the production, since he is front and center (literally) for the entire show. On the other hand, those who attend hoping to see a great version of this musical warhorse, may leave the theater quite disappointed. Mr. Jackman never degrades himself to the level of “con man” or for that matter elevates to embody a “music man” but does manage to provide his fans with the epitome of a “showman.” Unfortunately, the consequences come close to sabotaging the production. What keeps this from occurring is the dynamic force of an incredibly talented ensemble that is hardly ever featured on center stage but manages to take your breath away.

Director Jerry Zaks has produced a clean, slick, exuberant production that captivates the audience at every turn but is not able to reign in his leading players to portray characters with any depth and turning most of the incidental characters into cartoonish stereotypes. The scenic designs by Santo Loquasto are modest, mostly relying on painted drops in the style of Grant Wood, as to not interfere or distract from the performances. Mr. Loquasto’s costumes are exquisite, combining historical detail with whimsical flair to capture the flavor of each scene. The highlight of his efforts provides a spectacular theatrical moment when the horse driven Wells Fargo wagon arrives to deliver the musical instruments to the awaiting townspeople. Warren Carlyle provides choreography that is the energetic force of the evening. The ensemble dance sequences are riveting and at times remarkable, and the execution by the uber talented cast is nothing less than perfect. The problem that evolves is that when the star, Mr. Jackman is front and center leading this spectacular cast his dance ability is diminished and seems somewhat lackluster.

Well known Broadway veteran Sutton Foster with equal star power simply seems to be miscast in the role of Marion. Ms. Fosters physical comedy, timing and wonderful dance ability are all top notch, but she lacks the vocal range needed to deliver songs that are best suited for a lyric soprano. Also, she is shortchanged with simple choreography when coupled with Mr. Jackman. Benjamin Pajak making his Broadway debut as Winthrop comes close to stealing the show, proving to be a natural for the stage. Another stand out is Gino Cosculluella, also making his Broadway debut portraying a vigorous Tommy. He easily dominates the stage in ensemble dance numbers with buoyant maneuvers and athletic prowess.

This “Music Man” may lack the depth needed to deliver the drama involved in the plot but, by all means, even with its misgivings it is entertaining, although shallow. In conclusion, if this youthful cast is the future of the Broadway musical, no one needs to be concerned. It is in very capable hands.