The musical’s book is another matter, as its author Jessie Nelson piles on the outrageous situations. Mueller, playing the abused wife Jenna, who works as a waitress and thrives on baking incredibly tasty pies, falls in love with her gynecologist, Dr. Pomatter, played by Drew Gehling, who, like her, is married. No, he doesn’t examine Jenna in view of the audience. But they do make love on the examination table, and at one point with her legs spread wide apart, he eats pie where he should be inspecting her. You get the suggestion.

Of course, the doc could have his license stripped away for sex with a patient, and a nurse has caught them in the act. She frowns, but that’s about it. As it happens, I’m not a stickler for credibility when it comes to musicals that are basically geared to be entertaining. It certainly is amusing to see Jena and the smitten doctor violating protocol despite the lack of ethics.

There is also a show-stopping number by Christopher Fitzgerald as Ogie, prancing about and singing “Never Ever Getting Rid of Me,” summarizing his instant infatuation with waitress Dawn, portrayed by a partner in show-stealing crime, Kimiko Glenn, who displays a real gift for nailing the kooky but nice-gal spirit of her character.

Another waitress, Becky, portrayed by Keala Settle, is often amusing but also seriously dynamic when she lets go with her big song “I Didn’t Plan it.” I felt that hit the emotional high of the show, churning up more feeling for her than for the leading lady, as good as Mueller is.

Nick Cordero is appropriate nasty as Earl, the husband from whom Jenna must escape. Eric Anderson is enjoyable as the testy diner owner, who gets the hots for Becky, and Dakin Matthews has a warm supporting role as the elderly Joe, who regularly eats at the diner, dispenses advice and gets the spotlight with a special song, “Take It From an Old Man.”

Scott Pask has designed a large, impressive diner that can contain racks of Jena’s delicious pies, as well as accommodate the band at the side of the stage. It is a bright-looking production, which director Diane Paulus is able to keep moving nicely, except when she grapples with the serious dramatic plot sections.

I haven’t yet mentioned that Jenna gets pregnant. Guess who delivers the baby?

I couldn’t leave the show without feeling sad about the fate of the lovely Adrienne Shelly on whose film the musical was based. She came to speak at a film class of mine in connection with an earlier film and was charming and fascinating, as well as obviously talented. She was subsequently murdered, both a horrible personal tragedy as well as a loss for the arts.