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Catherine Zuber’s costumes are in on the jokes, with plenty of hippie-wear such as wide collars and bell bottoms and tops that reflect the plot’s focus on flowers. Zuber also scores big when reaching for the ‘40s and Mueller is absolutely radiant in her silk, big band gowns. Why Connick seems addicted to his blue suit is a mystery.

The musical’s best moments, not surprisingly, are when all the good elements join together, as in a showstopping moment when all three leads dance together, a rousing rendition of “Come Back to Me” by Connick and Gehling, and the group number “When I’m Being Born Again,” all with great choreography by JoAnn M. Hunter. The trouble is those moments are few and far between. On a clear day, you can see a better musical hiding underneath, waiting for yet another revision.