A pitch-perfect cast, led by Celia Keenan-Bolger, makes the most of this surprisingly earnest tuner based on the satiric film about life in a Christian high school.
Indeed, despite its current Off-Broadway venue and limited run, everything about Saved screams potential Broadway transfer, from the top-tier behind-the-scenes talent -- including director Gary Griffin, choreographer Sergio Trujillo, and award-winning designers Scott Pask, Jess Goldstein, and Donald Holder -- to the perfectly chosen 13-member cast, led by the invaluable Celia Keenan-Bolger.
Groff and Dempsey's book -- the pair also share lyricist credit with composer Friedman -- sticks reasonably close to the film's screenplay, although it takes the entire (and somewhat unfocused) first act to reach the work's pivotal plot point : The virtuous and virginal Mary (Keenan-Bolger) has become pregnant after her one-and-only sexual encounter with sensitive boyfriend Dean (the charismatic, strong-voiced Aaron Tveit) -- a last-ditch and sadly misguided attempt to convince Dean he isn't gay. Oh yes, by the way, Jesus (Daniel Zaitchik, convincing in a trio of roles) made her do it!
Her faith shattered by this turn of events -- which includes Dean being exiled to "Mercy House" to cure him of his sin -- the stronger second act has Mary upending her previously perfectly ordered life. She turns her back on goody-goody (if quasi-venal) best friend Hilary Faye (the superb Mary Faber), shies away from potential love interest Patrick (Van Hughes), and befriends tough-talking Jewish bad girl Cassandra (the scene-stealing Morgan Weed), who has taken up with Hilary Faye's wisecracking, physically disabled brother Roland (the wonderful Curtis Holbrook, who thankfully gets out of his wheelchair to show off his extraordinary dancing skills in the first-rate fantasy sequence "Heaven").
In a possible attempt to expand the show's demographic, the musical also gives a touch of added weight to the troubled romance between Mary's frazzled single mother (the always amazing Julia Murney, who scores with the show's best song "How To" as well as the comic "Orlando") and the school's stern principal -- and Patrick's father -- Pastor Skip (the ever-fine John Dossett), whose wife has essentially abandoned him for missionary work in Africa.
While Friedman's pop-and-theater-inflected music is consistently melodic, the 17-song score is a bit excessive, not to mention a decidedly hit-and-miss affair, with too many repetitive lyrics. Indeed, excising a few of the less-memorable songs -- and thereby shortening the production's overlong 2 hour-and-20 minute running time -- might be a wise move before the next production.