Ann Arbor Civic Theatre's "Nine," like its main character, has both charms and flaws

From top, Caitlin Rowe, Norman Weber, January Provenzola.

“Nine,” a musical now being staged by Ann Arbor Civic Theatre, focuses on Italian film director Guido Contini (Norman Weber), who’s struggling to figure out what his next project will be while being distracted and inspired by the various women who love him. But I’ll confess: on opening night, I never once felt in danger of joining their adoring ranks.

Based on Federico Fellini’s film “8 Â½,” with a book by Arthur Kopit and music and lyrics by Maury Yeston, “Nine” mashes memory, fantasy and reality together to convey the psyche of this profoundly self-absorbed, but stalled, artist.

And due to an unbelievably appropriate typo, the A2CT program lists the show’s penultimate song as “Getting Tail” rather than “Getting Tall” - which efficiently sums up Guido’s issues regarding growing up and respecting women.

The show’s dream-like, hallucinogenic quality makes it difficult to plug into quickly, and on opening night, A2CT’s production initially exacerbated this challenge. In the opening moments, lines (spoken with Italian accents) and vocals were shaky; some transitions were confusing; and because there’s only one set, an odd moment involved Guido and his wife Luisa (Caitlin Rowe) talking about going to a Venetian spa when, well, they already appeared to be there.

Fortunately, the show snapped into sharper focus when Weber got his first chance to shine vocally (“Guido’s Song”), showcasing his rich, full voice; and soon thereafter, Rowe offered a moving, lovely rendition of “My Husband Makes Movies.”

Yet perhaps the biggest reasons to see this “Nine” are January Provenzola, playing Guido’s mistress Carla, and Kathy Waugh as Guido’s muse and lead actress, Claudia. Provenzola’s “A Call from the Vatican” is a wildly sexy vamp-knockout, while - at the other end of the emotional spectrum - her later rendition of “Simple” demonstrates how powerful restraint can be.

Waugh, meanwhile, conveys her character’s affection, vulnerability and strength in the numbers “A Man Like You” and “Unusual Way,” the latter of which ends in a duet with Weber that’s a vocal highlight of the production.

But there are several. For although “Nine” is a show I didn’t personally love, certain numbers really hit the mark. “Be Italian,” featuring Tawna Dabney as a prostitute Guido encountered as a child (have I mentioned the show’s not for kids?), combined eye-catching choreography (by Deedee Ulintz and Rachel Francisco) with strong ensemble work; “The Belles of St. Sebastian” showcased the cast’s impressive, collective singing talent, as well as music director Tyler Driskill’s skill; “Nine” was beautifully sung by Amy Bogetto-Weinraub (though microphone issues made her voice sound tinny); and Nicholas Beatty, as Little Guido, provides a sweet, pared-down take on “Getting Tall.”

Meanwhile, Wendy Wright, as Guido’s persistent producer, provides a surefootedly comic performance, and she delivers a fine “Folies Bergeres.” Even so, the number plays a bit too long - and it didn’t seem to be just me who felt that way. As members of the ensemble gathered on stage near the song’s end, they performed dance steps with a blatant sense of fatigue, shuffling their way through a zero-energy kickline.

And while the production didn’t convey this kind of listlessness throughout, at two and a half hours, “Nine” feels similarly over-extended, especially since Guido’s charms were lost on me. Yet even so, director Edmond Reynolds and his cast offer up several well-executed, memorable numbers that nearly make the whole worthwhile.

Jenn McKee is the entertainment digital journalist for AnnArbor.com. Reach her at jennmckee@annarbor.com or 734-623-2546, and follow her on Twitter @jennmckee.