Sutton Foster is a prime example. Her range is admirable, as proven in her musical theater roles and as witnessed in her delightful and freewheeling night club act (See Cabaret). Here she makes her entrance as dominance personified and is quite a sight in her leather gear with a harsh, brittle voice that goes with the outfit. But as we soon learn, Prudence has a complicated personality. Hating how she sees herself for who she was and what she did, she gets a charge out of being in charge, all of which fits her fierce desire for independence. Meanwhile, as we learn, she is subjugated in a nasty personal relationship.

Zach Braff also gives a finely tuned performance as Harry, who arrives “on a whim” to a session with Prudence. He is a reluctant client humorously unnerved by the paraphernalia of the trade. The situation takes a hilarious turn when he recognizes Prudence as a high school classmate. Harry is obscenely rich as a result of having built and sold an internet business that has made him a multi- billionaire. But he is unfulfilled with a lousy marriage that money can’t rectify. The relationship he wants to have with Prudence on a different basis than her work becomes key to the play’s musings.

Harry’s wife Aleeza is played effectively by Ari Graynor as a depressive who shows no interest in much of anything, including when Harry is under the bed covers doing his best to arouse her with oral sex. The scene becomes hilarious, punctuated by something very funny that Harry does in revenge. But Aleeza also has her hidden side and needs a form of liberation, which you may be able to predict after she meets Prudence.

The fourth player in this dream cast is Bobby Cannavale as Morton, a failure in life whose one show of strength is his brutal domination of Prudence and the squelching of her growing efforts at rebellion. Cannavale manages to be tragic and uproariously funny at the same time. We know that he will be outsmarted in his clumsy attempt to blackmail Harry, but how this happens is a comic delight, and yet we become aware, by means of the writing and Cannavale’s canny acting, that within him there also lurks a man who desperately needs to shed his feelings of inadequacy.

As a result “All American Girls” is nowhere near as good as Gray”s “Black Angels Over Tuskegee,” a sensitive, powerful drama built around rediscovering the role of black airmen in World War II and now being performed in repertory with “All American Girls.” The new play fritters away what might have been a good opportunity for a more meaningful excavation.

This is not to say we don’t enjoy meeting the assortment of actresses as the women who gather to play ball in Chicago, especially Arlene A. McGruder as their tough, demanding Coach Hicks. But the locker room-style horsing around depicted comes across too much like sorority foolishness. The set-up involves a woman journalist investigating the coach’s disappearance, with flashbacks leading to what happened. The mixing of a cover-up to try not to tarnish the team and the coach’s complicity in such a bizarre scheme undercuts whatever positive values that Gray appears to be trying to illuminate while pursuing his dream of writing a mystery.

The first act set in an Irish town, Kilbeggan, examines the affection young James Whelan (Shawn Fagan) and Nan Bowers (Janie Brookshire) have for one another. But economic opportunities are rare, and Whelan leaves town in search of success with expectation that Nan will wait for him It is seven years later in Act II, and Nan, who has since been married and widowed, has fallen on hard times and is struggling to raise a child. Whelan has returned to open a bus company that is growing increasingly successful. Nan comes to him for work, and although a spark is somewhat rekindled in him, what Nan unexpectedly does in desperation makes him turn on her viciously.

The third act increasingly defines the choices being made as a reflection of class realities, ladder climbing and missed opportunities for pursuing one’s feelings that might bring personal happiness. Fagan’s scrappy portrayal of Whelen sets the right crucial tone. The character is so ambition-driven that, although he can make a stab at kindness, he can be cruelly mean-spirited and arrogant toward those around him. His harsh treatment of Nan is inexcusable even though he was provoked. He is ripe for marriage, but to whom?

Rosie Benton gives a very appealing performance as Kate Moran, Whelan’s long-time friend. She is feisty and interesting, but she is too dynamic a woman for his ego to take. On the other hand, attractive, flirtatious but seemingly vacuous Nora Keane (Liv Rooth) has a rich father. Whelen was keen on her when they were younger and he worked for her father, but she slighted him in a way he has never forgotten. However, marrying her would achieve upward mobility. All of this is delineated against a background of the limited opportunities in the village--for men, but especially for women, positioned to regard marriage as the be-all of their lives.

The action occurs between 1980 and 1990, taking place in New York, California, and Massachusetts, but on a tiny stage. Since much of the action concerns the theater, a few background marquis signs are all set designer Mark Worthington requires to remind us of Broadway.

Noah Robbins gives a memorable, energetic and deeply felt performance as Andy Lipman, a stage-struck teenager who is smart, eager and intense as he passionately desires to have a career in the theater built upon his already demonstrated flair in school productions. He is really a handful, this kid who has idolized a renowned director, Martin Kerner, and has the balls to write him a fan letter that he hopes will at least be read, and perhaps get him an introduction. Andy’s parents, deftly played by Amy Aquino and Mark Nelson, are supportive, possessive and protective in having to deal with the unusual son on their hands. Robbins looks and acts as if he were a budding Woody Allen.

John Glover gives a brilliant performance as the larger-than-life, dynamic Kerner, who gets a kick out being idolized, and arrogantly dispenses advice while also keeping those he advises at bay. He spouts his supposedly worldly wisdom, raising hopes but not delivering much more than words. Yet his observations can also be helpful. Such is the tone of the relationship that ensues after the impressionable Andy gets to meet Kerner, who periodically sees Andy as he progresses through college.The relationship becomes fraught with frustrations for Andy, who would like concrete help in getting work in the theater.

Kerner, who is gay, recognizes homosexuality in Andy before Andy firmly discovers this about himself and pours out his feelings to Kerner about a relationship he has found. Kerner encourages Andy to be himself and not let anything or anyone deter him. As serious as the subject becomes, the playwright makes consideration of how Andy can tell his parents that he is gay extremely funny and the staging is wonderfully inventive. Of course, Andy’s parents have had suspicions all along.

The play gets increasingly complex. Andy’s mother, frustrated in seeing Kerner have more influence over her son than she has, suspects there is more between them. A teacher who once harbored show biz ambitions and even auditioned for Kerner, she feels her influence over students slipping away, all of which feeds her dissatisfactions. As the drama deepens, sometimes getting a bit too all-embracing, Andy rebels against Kerner as Andy’s own frustrations mount. And what about Kerner’s own future?

There is a sensitive, humorous, performance by Bill Brochtrup as Kerner’s all-wise. long time assistant and gate-keeper Bradley.

Peters, excellent musical theater actress that she is, has a sharp sense of comic timing, thus extracting more humor from some of the show’s most amusing lines. For example, when she confronts the man she would like to call her own, Fredrik Egerman (Alexander Hanson) and his very young wife Anne (Ramona Mallory), I like her line emphasis as she introduces her daughter. “And this is MY daughter,” she says, sarcastically mocking the age discrepancy in Egerman’s marriage. Although Peters may not project the sweep of an actress who has played great dramatic parts, she impressively manages to convey the mix of self-confidence, inner frustration and romantic, emotional longing inherent in the role.

In the case of Stritch as Madame Armfeldt, Desirée’s aging mother looking back with worldly wisdom on the trajectory of her life and the course of romantic relationships, she is more flamboyantly sharp in delivering the lines to hilarious effect. Lansbury was wonderfully droll too, but with less fanfare. Strtich punches across her character delineation with her characteristically brilliant timing and toughness in her voice. Yet she also projects the sad world-weariness of reminiscing with regrets as her life approaches its end. Thus Stritch makes the character thoroughly her own and her performance is a treasure.

It is saying something that in this exalted company, Leigh Ann Larkin as the saucy, sexually provocative Petra, the maid, can make her own mark with her fetching, wistful rendition of Sondheim’s number “The Miller’s Son.” Her moment to shine must also be considered a highlight.

A highlight of the evening was bringing back a number Denman and song and dance man Noah Racey performed in a previous show at The Town Hall—“Necessity” from “Finian’s Rainbow.” They make a rare pair, and one couldn’t wish for a better example of dancing expertise. The guys can sing too.

It’s also a treat when Denman performs with Erin Denman (yes, they are a couple). Erin is stunning and moves with ultra smoothness, sexiness and skillfulness in intricately choreographed numbers, as exemplified by their snazzy interpretation of “Two Lost Souls” from “Damn Yankees.” They look great together--a perfect team that makes you want to see more of them.

To give enough leeway to the dancing, the entire stage was made available. Musical director//pianist Ross Patterson and his band, usually featured in sight, were musicians-in- hiding, positioned behind a curtain. Their music itself was no less prominent, but one missed seeing them anchoring the entertainment. What do you do with a stage that has its limitations?

Space was needed for the elaborate dancing ensemble numbers, such as the opener “Happy Feet,” led by Denman, or the extremely ambitious “Slaughter on Tenth Avenue” from “On Your Toes,” also spotlighting the ensemble with elaborate effect and solo opportunities.

Don’t get the idea that singing was neglected. Scott Coulter stepped in on last-minute notice as a replacement to deliver an energetic, beautifully rendered “Promises, Promises” from the show of that name.

There was also the boon of having the iconic Karen Akers to dazzle with “Where Have You Been?” from “The New Yorkers.” You may recall that Akers appeared in the Broadway musical “Nine,” and here she was, also singing “Only With You” and “Be on Your Own” from that show. It is no secret that Akers is the model of sophistication, from the way she comports herself on stage to the elegance of her singing and lyric interpretation.

Julia Murney is a veteran of the Siegel shows, and I don’t know that she’s ever been better than this time around. She teamed delightfully with Denman for a quite original “Ain’t Misbehavin’” from the same-titled musical, and did knockout interpretations of “The Man That Got Away” and “The Man I Love,” as well as injecting extra meaning and fun into the number, “I Never Do Anything Twice” from “Side by Side by Sondheim.”

Another singing plus was rich-voiced and appealing Ron Raines singing “I Won’t Send Roses” from “Mack and Mabel,” and “September Song” from “Knickerbocker Holiday.”

The show in general benefited from considerable variety. A rousing, entertainingly creative coup was the “Murdered Men” tango by Kander and Ebb based on the “Cell Block Tango” from “Chicago.” Denman—there he was again—wrote new lyrics and monologues to express male reasons for offing their women, delivered by James Brown III, J. Austin Eyer, Mark Ledbetter, Noah Racey, Dennis Stowe and Jeremy Benton.

I also enjoyed Lorin Latarro’s teaming with Racey on “The Life of the Party” from “The Wild Party.” I liked “Make Every Day a Holiday” from “The New Yorkers,” with Erin Denman and Kristen Beth Williams, James Brown III, Jeremy Benton, Jennifer Rias, J. Austin Eyer, Bethany Moore and Steve Schepsi. Another highlight was “Someone Is Waiting” from “Company,” with Denman, Latarro, Williams, Margot de la Barre, Moore and Helen Anker.

The show, with music by Brad Alexander and book and lyrics by Adam Mathias, turned out to be a mix of failed ambition and further pretentiousness, all in all rather a bore despite the contributions of a competent seven-member cast doubling up to play a total of 14 characters and the efforts of director Jack Cummings III. The concept at the heart of the book encompasses the problems people have finding themselves and taking risks in life, as evidenced by a series of separate episodes.

We meet Jess (Bryce Ryness), a drifter, and Dodi (Mamie Parris), a waitress, and Jess sings about heading for Rock City, a place he just has to go. Dodi becomes entranced and heads there with him as they get to know one another while driving. There’s a bit of ingenuity here, as two other actors crouch in front of them with lights on their backs to illuminate Jess and Dodi. The introductory song Jesse sings repeats Rock City so many times that I leaned over and facetiously asked my wife, “Where does he say he’s going?” It turned out that Rock City was only built of rocks, sort of a forerunner of the show’s shallow content.

Other segments included a woman and her ailing grandfather at the Alamo, where he goes to recapture the feelings he had when he met his wife there. In another segment three sisters on an Alaska cruise deal with the task of dumping their father’s ashes, and some of their banter is funny. In one bit set at Coney Island there is discovery of homosexual feelings and a recoiling from the experience, the situation delineated by Cutter (Ryness) and Rick (Stanley Bahorek). They have one of the show’s better, livelier songs, “You Are My Bitch.”

And so it goes, building up to a Niagara Falls scene, in which Kate (Donna Lynne Champlin) as a nervous bride afraid to marry meets a tour guide (Jonathan Hammond), who symbolically challenges her to go over the falls in a barrel, a metaphorical discussion akin to taking the wedding plunge. It is all rather pompous.

Of course, there are some undiscerning audience members who will find mirth in just about anything mining comedy from sex, as seemed to be the case on the night I caught this show. But for me—and I’m someone who enjoys well-done low comedy—it was a long 90 minutes.

The setting is an apartment in Sunnyside, Long Island, and co-author Cutell plays Charley Milhouse, a geezer whose birthday is celebrated with the visit of his geezer pal, Moe Crubbs, played by Bernie Kopell. Both Cutell and Kopell are known for their television work through the years, and that sets up a plus with the audience. Both characters are widowers and haven’t had sex for a long time. For Moe in particular the idea would be like waking the dead. But Charley presses him into reluctantly agreeing to call a hooker service for a why-not-live-a little evening. And with Viagra available disguised in an Aspirin bottle, things can be looking up. Meanwhile the scene is set with jokes about the indignities of growing old.

The waiting guys have fallen asleep on the sofa by the time the buzzer sounds. Instead of the two girls promised, only one arrives, explaining that her friend has been arrested, which scares Moe. But the hooker who does show up, Jacqueline Tempest, is some bundle as played by the excellent Teresa Ganzel. She is very tall, leggy, busty and perfectly attuned to the old burlesque stuff, like talking about her eyes as her shorter admirer faces her bosom.

Ganzel, who is a good comic actress, also amuses with facial twitches after she mistakenly takes Viagra. She is funny as she talks about Jacqueline’s quest for education and delivers the set-up for a wan political joke: “They might make me Secretary of Intercourse.” Charley says, “Why Not? We’re getting screwed every day.”

And so it goes. After retreating into the unseen bedroom with Jacqueline, Moe emerges later, pants around his ankles--a resurrected man. The bit is visually funny, thanks to Kopell’s acting prowess. But it only serves to illustrate how strained much of the other humor is. Even worse, there’s a stab at sentimentality and a dopy curtain call meant to be endearing.

Two holdovers from the 2001 cast, the wonderfully expressive Terry Donnelly and the rich-voiced Ciarán Sheehan, help do justice to the production, now also strongly abetted by Kerry Conte and Gary Troy, with Patrick Shields turning in fine work on violin, mandolin and bodhran, and Kevin B. Winebold, as well as being part of the ensemble and musical director, skillfully contributing on piano and accordion.

Virtually everyone gets to be highlighted. Sheehan injects new beauty and passion into the chestnut “Danny Boy.” Donnelly excels in such numbers as “Carrickfergus” “I’ve Got Rings on My Fingers,” and “Finnegan’s Wake.” But the main effect is the impressive way in which all solo spots fit into the work as a company, which even provides a show business side of Irish history celebrating George M. Cohan with “Give My Regards to Broadway,” “Yankee Doodle Dandy,” “You’re a Grand Old Flag” and “Over There” numbers.

Any way you look at it, this was a great night for entertainment—terrific talent doing major songs from major shows, all under the expert direction of Scott Coulter, with musical direction by John Fischer and some snappy choreography by Vibecke Dahle. Siegel engagingly supplied the biographical introductions.

Let’s take the performers one by one.

JACOB SMITH provided an immediate lift opening the show with the very appropriate “This is the Moment” from “Jekyll and Hyde.” With a vigorous, exciting voice and solid, likeable stage presence Smith set an instant professional tone and showed he was ready for the big time.

JAMES ERICKSON, good looking and with leading-man appeal, brought sensitivity and passion to the lyrics of “Something’s Coming” from “West Side Story.”

JENNIE McGUINESS quickly established herself as an audience pleaser with “I've Got Rhythm” from”Girl Crazy,” abetted with backup by Matt Steele, Frank Francisco, Brad Giovanine and Paris Nix. When she began to dance, too, the place went wild.

BROOKE SCHLOSSER ripped into the song “Gimme Gimme” from “Thoroughly Modern Millie,” connoting a sense of great urgency in her search for love and grasping the air for “gimme” punctuation. She is unquestionably a dynamo.

BRAD GIOVANINE showed that he could deftly handle the complications of a Sondheim number as he smoothly and impressively navigated the challenging notes and lyrics of “Everybody Says Don’t” from “Anyone Can Whistle.”

EMILY IAQUINTA put an entirely new spin on “Mr. Monotony” from “Jerome Robbins’ Broadway.” I never envisioned the song as sexy, but Iaquinta poured sex appeal into her individual approach, with a purring voice that matched her good looks and interpretation. She’s quite a knockout.

JEFF RAAB flashed show biz razzmatazz as he became the fast-singing huckster putting over the rapid-fire “There’s a Sucker Born Every Minute” from “Barnum.” He clearly has a great sense of comedy.

CAROLYN AMARADIO, with beauty a plus in addition to a voice that is spine-tingling was absolutely smashing in her rendition of “Wishing You Were Somehow Here Again” from “Phantom of the Opera.” And she sang without a microphone--“unplugged” as is Siegel’s favorite way of putting performing without amplification. With a voice of such strength and purity, Amaradio doesn’t need a mike.

STEPHEN LUKAS shone dramatically singing “‘Till I Hear You Sing” from “Love Never Dies,” the sequel to “Phantom of the Opera,” now playing in London. I’m not wild about the song itself, but it served Lukas very well, enabling him to reveal his powerful voice and ability to pour emotion into lyrics.

EMMY RAVER-LAMPMAN has had quite a bit of experience already and it showed as she delivered a rousing rendition of “Tomorrow,” the iconic song from “Annie.” She also has a stunning stage presence.

FRANK FRANCISCO brought plenty of personality as well as a good voice to his appealing “My Luck Is Changing” from “The Tap Dance Kid.”

ELLISHA MARIE THOMAS energized the hall singing “Circle of Life” from “The Lion King.” It was almost as if one had never heard the song before. What a talent! With Paris Nix and the company joining in, the first act ended explosively and the appetite was whet for the second.

JESSICA WAGNER, starting Act II with “Good Morning Baltimore,” was so appealing and convincing that she could have sailed right into a full-scale production of “Hairspray,” and the company joined in to make the number a sure-fire winner.

ERIN GOREY excelled in an especially difficult Sondheim number, “Another Hundred People” from “Company.” She managed to convey excitement inherent in the vision of the constant army of people for whom New York is a magnet.

PARIS NIX revived memories of the show “Golden Boy” with his soaring interpretation of the demanding “Night Song,” firmly demonstrating his vocal and stage force.

PJ VERICA had a most interesting choice, singing “Millwork” from the musical “Working,” With an assist from Jeff Raab, she movingly captured the essence of the number and the show based on the writings of Studs Terkel extolling the America’s workers.

LAURA DARRELL tenderly injected romance and longing into the demanding “Time Heals Everything” from “Mack and Mabel.” One could envision her doing an array of numbers of that nature.

DANIELLE COLUMBO also reached into “Mack and Mabel” for “Wherever He Ain’t” and succeeded in bringing out the number’s cleverness and meaning.

MATT STEELE demonstrated his skill with “Mr. Cellophane” from “Chicago,” convincingly delineating the sad character everyone habitually overlooks. But there was no overlooking of the talented Steele.

REBECCA LaCHANCE was wistfully entertaining in the way she sang “Nothing Really Happened” from “Is there Life After High School?”

JENNIE HARNEY seized the moment and elevated “I Am Changing” from “Dreamgirls” to the show-stopper it can be. She was priceless in her command of the music, lyrics nd the audience. If I were pressed into bestowing a prize for the evening, and this is no reflection on all of the other talent, I would bestow it upon Ms. HARNEY.

MEREDITH LUSTIG went unplugged to sing “Climb Every Mountain” from “The Sound Of Music.” She made the song thoroughly her own as she exhibited the voice that is needed to successfully deliver the number that has been a challenge to all who attempt to scale the mountain of the originally. Great work!