Nancy Van Valkenburg

For fans of Diamond, the show has already fully delivered on its musical promise, with songs well-sung and performed mostly by Nick Fradiani as the younger version of Diamond. Fradiani has the sound down, and the charisma.

Tour scenic design, by Christine Peters, was functional and moved the story forward. Lighting, by Lap Chi Chu, was innovative, and simulated flash photography from the back of the auditorium, drawing the audience into the story. Costumes, by Paul Tazewell, defined the characters by age, class and beliefs.

Jerry does his best to push the giddy Osgood away, and comedy ensues. But it also turns into an opportunity for characters on stage to reexamine traditional values of respect and acceptance before everyone gets their happy ending.

& Juliet" gives Shakespeare's long-overlooked wife, Anne Hathaway (hey, this Anne had the name 426 years before "The Devil Wears Prada" star was born) a chance to hijack her husband's new "Romeo and Juliet" tragedy, and turn it into something infinitely more energizing and empowering.

Brice is portrayed by Hannah Shankman in this tour. She captures Fannie’s early days as an awkward, starry-eyed outsider who slowly transforms herself into a polished gem of a professional worthy of her starhood. Shankman capture’s Brice’s warmth and vulnerability in all her stages, including giddy girlhood, seasoned performer, and weary but hopeful wife.

People who have seen the film will have an advantage in following the action, and accepting that an ex-wife can’t recognize her highly costumed ex. And neither can Daniel’s three kids, at least at first. And there are plenty of sight gags and scenes that hail back to the film, including Mrs. Doubtfire setting her fake, padded bosom on fire in a cooking accident, and hiding her maskless face by diving into a meringue dessert. There are also a few inside jokes for anyone who has seen the film, and I won’t ruin those.

The songs, accompanied by on-stage musicians, are beautiful and moving, although many of them are unrecognizable as Dylan’s, with his distinctive singing style and edge removed. Not all of them seem to relate to what is going on in their scenes. But the playing and singing is folksy and enjoyable.

In nearly every song, Banks comes surprisingly close to the sound of the artist he portrays. Jackson died in 2003 at age 50, of course, but “MJ” seems to capture his spirit. The musical, brought in by Zions Bank Broadway at the Eccles, continues through Sunday with nightly shows and some matinees.

Christine Sherrill is a strong as Donna, whose past has caught up with her. Sherrill has a strong voice, but a few times seems vocally to be slightly behind the instrumentals. It seems to be a stylistic choice, but is problematic with an audience that came to hear the exact sound of ABBA.