There are good musicals and bad musicals, and then there are “Why?” musicals, a category invented by composer Mary Rodgers for shows that have no distinctive identity, no particular reason for being. The vast majority of “Why?” musicals are adaptations of popular films — think The Goodbye Girl, Big, and Footloose — which neither capture the charm of the source material nor provide anything new to attract an audience. One leaves such a show with the overwhelming feeling that
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