In the summer of 2007 there was a buzz up and down Broadway about a little show that was about to open at the Helen Hayes Theatre. As more and more people saw the previews, the anticipation was growing that a new hit was in the works. Word was right. Xanadu, soon became a surprise hit musical (which the producers proudly use as their promo tag line). Based on the universally panned 1980 Olivia Newton John/Gene Kelly musical film, (which in turn was based a 1940's Rita Hayward film ‘Down To Earth') Xanadu on stage has become one of those musicals that is hard to explain why it works, it just does, developing its own unique fan base. Keeping most of the hit songs from the film Xanadu was the recipient of an Outer Critics Circle Award for Best Musical and a Drama Desk Award for Best Book and was also nominated for Tony Awards for Best Musical and Best Book. The show closed on Broadway last September without turning a profit. However, like the mythos of the Greek Gods themselves, the same producers have chosen Chicago for the next incarnation.

Though the film version only did marginal box office, several songs from the soundtrack became top ten hits. The stage adaptation uses the movie only as a shell of its old self but smartly retains most of the chart topping songs by Electric Light Orchestra's Jeff Lynne and Newton John's longtime songwriter John Farrar, as well as interpolating two classic Electric Light Orchestra songs, "Strange Magic" and "Evil Woman," plus Farrar's "Have You Never Been Mellow".

The plot goes something like this; nine Greek mythical muses, daughters of Zeus, have the task of inspiring humans to create great works of art and in doing so, finding an Eden of Xanadu. Clio, the lead muse, comes upon a mural artist, Sunny and takes him as her next project. Clio, along with her ‘sister' muses, descend from Mount Olympus to 1980's Venice Beach, California. In order to blend, Clio dons the guise of Kira, a roller slaking, leg-warmer wearing intervener, with an oddly familiar Australian accent. The one rule of muses, as decreed by Zeus himself, "Never put your own money in the show". Oh wait… that was Max Bialistock. Zeus has decreed that muses must never fall in love with a human or they will face eternal banishment to the underworld. As you can imagine, like Samantha and Darrin, love is in the air.

Attending the show twice during its Broadway run, once for the last preview and then with Whoppi Goldberg last summer, I was captivated with the on stage chemistry of Kerry Butler and Cheyenne Jackson. The muses where equally as good, with Second City's Jackie Hoffman stealing every scene she was in.

So how does Xanadu make the transfer from New York to the Drury Lane Theatre at Water Tower Place especial without the original cast members Kerry Butler and Cheyenne Jackson, who were the major reason of the success of the Broadway run?. The answer is becoming routine, like our own Wicked and Jersey Boys, the Chicago production of Xanadu, is tighter, funnier and more enjoyable then its Broadway predecessor.

Most of this improvement is because of the show's lead, Elizabeth Stanley. Unlike Kerry Butler, who physically resembled Olivia Newton John, Ms. Stanley is more of a Lucy Ricardo on skates. Stanley, with an entirely different body type then Butler, is a master at physical comedy. Along with her over the top Australian accent and bravado alto belt, the show takes on a whole new comic tone which pays dividends for the audience.

Stanley is matched with the very capable and talented Max Von Essen who plays wayward artist Sunny. As the play gets going, Von Essen grows more comfortable with the role. His personality is instantly engaging and like Cheyenne Jackson, very easy on the eyes. Von Essen doesn't have the stage presence of Jackson but certainly does shine in his vocals. Von Essen has an amazingly powerful and well controlled tenor belt (that he needed in the last Broadway incarnation of Jesus Christ Superstar) and brings the house down with "Don't Walk Away".

One of the best casting moves comes with the addition of the great Larry Marshall who plays an aging real estate entrepreneur, who decades before, chose money over his true passion of developing art. Marshall gives a phenomenal performance combining humor with the anger and angst of what might have been should he had chosen a different path.

Evil women, oops, I mean muses, Sharon Wilkins and Joanna Glushak give the show a double shot of adrenaline. Wilkins provides one of the most magnificent voices heard in a long time and Glushak with perfect comic timing together are a comedy duo that reminds one of Eddie and Patsy of Absolutely Fabulous.

Director Christopher Ashley, as he did on Broadway, nicely balances the comedy with the camp, trusting his actors to know how far to take a scene. Ashley smartly lets the musical numbers develop the characters and move the story along. Also, scenic designer David Gallo, lighting designer, Howell Binkley and projection designer Zachary Borovay have done what few designers shows have been able to do with the Drury Lane space; make a show that actually fits the theatre.

Of course one can find deeper meaning in Xanadu if you want. There are relevant human issues that are addressed, such as having mentors that believe in their pupils, regret of a life wasted and how much one is willing to sacrifice for love. It is all in there. But Xanadu is mostly about forgetting your troubles for and hour and a half and enveloping yourself in one the most refreshing musicals in years. Though the appeal of the show may be limited, for those who go in with an open mind, Xanadu can work its magic on you.

Xanadu is playing at the Drury Lane Theatre at Water Tower, 175 E. Chestnut St., Chicago, Illinois. For showtimes and tickets, please visit www.BroadwayInChicago.com or by calling the Broadway In Chicago ticket line at (312) 902-1400. For more information on Xanadu, visit the official website www.XanaduOnBroadway.com

Listen: ShowBizQ Podcast with Xanadu Director Christopher Ashley and the show's star, Elizabeth Stanley