Limelight: The Story of Charlie Chaplin

Charlie Chaplin (1889–1977), the iconic actor-director who achieved fame and widespread acclaim in Hollywood silent films, seems a prime subject for a spectacular musical. The gifted craftsman's early career achievements—first in British vaudeville as a child performer, then during the formative era in American cinema—provide a colorful story backdrop. Furthermore, the man's life was filled with scandals—notorious romantic escapades, accusations of Communist leanings, and eventual banishment from the U.S., resulting in the sad early curtailment of his career. This ambitious world-premiere bio-musical, co-directed by Warren Carlyle and Michael Unger, has shining moments but is hampered by a disappointing book and score.

Foremost among this show's assets is a highly impressive ensemble cast, particularly Rob McClure's gracefully nimble and charming star turn as the complex titular character. McClure delightfully assimilates the comic's inspired Little Tramp characterization—from his sad-sack aura and playful orneriness to the shuffling gait as he swings his cane and his dexterity with slapstick pratfalls. McClure is also a consummate singer, offering powerful and poignant renditions of songs such as "Someday" and "Where Are All the People." The enchanting Ashley Brown (Broadway's "Mary Poppins") unfortunately has too little to do, playing two brief roles: Chaplin's mother, a vaudeville entertainer who was committed to an insane asylum; and his fourth wife, Oona O'Neill (daughter of playwright Eugene O'Neill). Yet Brown is a welcome presence and she's exquisite in her duet with McClure, "What Only Love Can See."

Among the fine supporting portrayals are those from Jenn Colella as vindictive gossip columnist Hedda Hopper; Matthew Scott as Chaplin's half-brother and loyal business manager, Sydney; and Jake Evan Schwenke and LJ Benet as Charlie and Sydney, respectively, as children. The singing and dancing ensemble sparkles, thanks to buoyant efforts from music director Bryan Perri, orchestrator Douglas Besterman, and choreographer Carlyle. The highlight is the smashing "Tramp Shuffle" featuring Charlie and a chorus line of Little Tramp look-alikes.

Christopher Curtis' score is enjoyable but unexceptional; one yearns for more memorable melodies and bona fide showstoppers. The performers are further held back by the superficiality of the book by Curtis and Thomas Meehan ("Annie," "Hairspray"), sort of a Reader's Digest crash course in Chaplin's eventful life. Incident after incident flies by, with almost no time for actors or audience to react emotionally to anything—marriages, births, familial strife, ruinous career setbacks—offering little support for in-depth characterizations or an involving story line.

The staging is fluid and highly appealing. Occasional clips from Chaplin's films, designed by Zachary Borovay, cast an enchanting spell. Again, if only there were more. Thankfully, Alexander Dodge's atmospheric sets, Linda Cho's costumes, and Paul Gallo's lighting beautifully conjure the period settings and a crackling showbiz milieu.

Anthony Newley's problematic but promising 1983 Chaplin bio-musical, "Chaplin," closed en route to Broadway. Jerry Herman's tuneful 1974 show "Mack and Mabel," about silent-film director Mack Sennett and his leading lady Mabel Normand, became a commercial and critical failure, due to a weak book. Let's hope that the Broadway-wannabe "Limelight" makes the needed refinements to break that curse.

Presented by and at the Mandell Weiss Theatre, La Jolla Playhouse, 2910 La Jolla Village Drive, La Jolla. Sept. 19–Oct. 17. Tue.–Wed., 7:30 p.m.; Thu.–Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun. 2 and 7 p.m. (858) 550-1010. www.lajollaplayhouse.org.