Musical ‘Ain’t’ too exciting

THEATER REVIEW

“Ain’t Misbehavin’ “

Grade: C

Tonight-Sunday. $14-$43. Broadway Across America-Atlanta, Fox Theatre, 660 Peachtree St. N.E., Midtown. 404-817-8700; www.ticketmaster.com

What do “American Idol” alums do when they graduate? Some make hit records. Some fade into obscurity. And some —- like Diana DeGarmo, Clay Aiken and three members of the “Ain’t Misbehavin’ ” national tour at the Fox Theatre —- turn to musical theater.

Just when these “Idols” thought they’d escaped Simon Cowell, along come the critics and the musical mavens: Many of them were around before most of these talents were born. One ongoing cultural gripe is the way the “Idol” style pervades performing today. Young singers belt their hearts out while making little emotional connection to the material.

In this 30th anniversary production of “Ain’t Misbehavin’ ” —- staged by the original creative team of Richard Maltby Jr. (direction) and Arthur Faria (choreography) —- “Idol” alums Ruben Studdard, Frenchie Davis and Trenyce Cobbins not only show scant connections with jazz master Fats Waller’s foolproof canon, they also make few connections with one another.

While there are some awfully good singers here, there doesn’t seem to be a strong sense of ensemble —- or many barn-burning breakout numbers, for that matter. So for most of opening night’s first act, actors wandered onstage and did lukewarm dance steps while every klutzy crash or bit of robust breathing was amplified by their microphones. We heard Ruben’s purr before he uttered a word.

The technical snafus can be fixed. But the casting decisions are a larger conundrum. For now, better to enjoy the small moments of sparkling comedy and spectacular singing. (David Jennings and the lovely Patrice Covington round out the cast.)

Happily, the music seems a lot crisper once pianist David Alan Bunn is joined by the full orchestra. And for the most part, Studdard looks like he’s having a good time. He warms up slowly but delivers the goods in the scale-tripping “Jitterbug Waltz” with Covington. His one-liners and big comedic number, “Your Feet’s Too Big,” are so deliciously silly that you forgive him if he lapses into pop-concert mode toward the end of the night.

It’s nice to see that set designer John Lee Beatty has dutifully reconstructed the plush red banquettes and soaring contours of a sophisticated Jazz Age boite, and costume artist Randy Barcelo the sequins, hats and dresses of that bygone age.

Alas, I left the theater thinking I’ve seen better productions of this musical by small Atlanta theaters. Nothing wrong with plucking stars from “American Idol.” But for a national tour with Broadway aspirations, you expect more polish. Plainly put, this joint’s not jumpin’.