Currently running at Classic Stage Company, “A Man of No Importance” chronicles gay middle-aged bus conductor Alfie Byrnes’s (a gloomy and dispirited Jim Parsons) struggles to claim his agency in 1960s Dublin, Ireland’s repressive homophobic environment. His sexual status defines him as a criminal; however, Alfie self-defines as an ordinary man who secretly loves Robbie Faye (a spirited and generous A. J. Shively) the straight bus driver he shares his workday with. At night, he returns home to his spinster housemate sister Lily Byrne (a thoroughly engaging Mare Winningham) whose only mission in life is to find her brother the “right girl.”

Terrence McNally based his 2002 book of “A Man of No importance” on the earlier 1994 comedy drama film of the same name written by Barry Devlin and directed by Suri Krishnamma, starring Albert Finney as Alfie and Rufus Sewell as Robbie. Unfortunately, the authentic bond between Alfie and Robbie in the film fails to transfer to McNally’s book and seems oddly absent in the current production at Classic Stage Company despite the star power that graces the stage.

Under John Doyle’s ingenious direction, the ensemble cast skillfully embodies Alfie’s troupe of amateur actors as they attempt to help their bus conductor-director mount Oscar Wilde’s “Salome” in The Social Hall adjacent to St. Imelda’s, the small parish church in a quiet neighborhood of Dublin. This supporting cast acts, sings, dances, and plays their instruments to perfection. Along with A. J. Shively and Mare Winningham, they do their best to bring out the best in Jim Parsons who fails them and himself in his listless portrayal of the spirited man Alfie Byrne. Mr. Parsons seems not to understand the pathos of his character, choosing instead to mope across the stage in an aimless search for Alfie, the character who chooses less to be pitied and more to be understood and accepted unconditionally.

The disconnect between the supporting cast and the musical’s lead is unfortunate and surprising. It is difficult, if not impossible, to determine whether that disconnect is the fault of director John Doyle or the fault of Mr. Parsons. The reality is the disconnect exists and the production suffers as a result.

Ann Hould-Ward’s costume design, Adam Honorés lighting design, and Sun Hee Kil’s sound design overshadow John Doyle’s prosaic scenic design in this production that has been extended through Sunday, December 18, 2022.