The world premiere musical “The Connector” with a book by Jonathon Marc Sherman and music and lyrics by Jason Robert Brown now playing at MCC Theater certainly has a suitable title on many different levels. Although each character is pivotal in connecting the pieces of the puzzle to create the story, they are also connected by the same personality trait which happens to be ambition. Conrad O’Brien (a casual and likable Scott Bakula) is ready to retire as the editor of a magazine named “The Connector” and seeks to secure his legacy as a journalism legend. Ethan Dobson (a smarmy and erratic Ben Levi Ross) is a recent Princeton graduate who has the dream of being a feature writer at the “Connector” at any cost. Robin Martinez (a dynamic and powerful Ashley Perez Flannigan, an understudy at this performance), a staff member at the magazine trying to overcome her disadvantages of being a woman and Latinx and hopefully get her first story published. Then there is fact checker Muriel (an efficient and determined Jessica Molaskey), always committed to ensuring stories can be backed up by the facts. Finally, there is Mona Bland (a sincere and concerned Mylinda Hull), a devoted reader constantly questioning the integrity and truth behind the stories written by Dobson. Everyone’s ambitions fuel the storyline to spin an intriguing tale of its own, sometimes blurring the line between what is real and what is fiction, possibly never concerned about the facts.

Dobson quickly secures his position as a writer for the magazine after a story he had written at Princeton is shown to O’Brien by his wife, who suggests the two meet. Robin who has been working diligently to have a story published, witnesses Dobsons quick rise to fame after his story is published and there is an increase in subscribers, of course making O’Brien look good. A flimsy plotline trying to create a romantic relationship between Robin and Dobson is unnecessary and inevitably fails, as Robin is suspicious of Dobson’s credibility. Muriel’s fact checking is ignored because of the popularity of each new fabricated story which ensures the success of the magazine and secures O’Brien’s legacy. Robin starts moonlighting at another magazine run by a Latinx editor and gets her first story published and gathers support for her theory that Dobson’s stories are fabricated. Meanwhile Mona constantly appeals to the magazine expressing her concern about disturbing details that do not corroborate properly. Dobson is eventually revealed as a fraud.

The cast is remarkable, ensuring the story is clear and precise but lacks the ability to develop characters which falls on the shoulders of Mr. Sherman who pens broad portraits with too little substance. Mr. Brown has composed a brilliant score, with soaring vocals that define each character and situation. It is varied, voracious and volatile meeting the emotional momentum of the moment. His lyrics are concise, deliberate and exact needing no explanation and clearly expose the characters and plot. He conducts the remarkable and talented six-piece music team from his perch at the piano which he plays at every performance.

Some audience members and journalists may have issues with the fictional approach to this tale about so called “fake news,” mainly because of situations and characters that might not be plausible. Perhaps that is part of the connection that “The Connector” is trying to achieve, as it creates a story that relies on fact using the genre of musical theater which is usually generated by fiction.

As a final note, the show has been extended and the understudy Ashley Perez Flanagan, mentioned above will permanently take over the role of Robin Martinez, usually played by Hannah Cruz, for the remainder of the performances.