Kelli O'Hara and Will Chase (Photo: Joan Marcus)

Having seen several Kiss Me Kates, including the last Broadway revival starring the late Marin Mazzie and Brian Stokes Mitchell, I expect any surprises in the plot's cross-cuts between the backstage squabbling of Lili Vanessi and Fred Graham (loosely based on the famous thespians Lynne Fontaine and Alfred Lunt) and scenes from a musical version of The Taming of the Shrew. And even first-time viewers will quickly realize that though divorced and with Lili engaged to a rich military man, that both are still "So In Love." with Kelli O'Hara and Will Chase to portray both Lili and Fred and their on-stage counterparts Katharine and Petruchio, this two-tiered story is thrillingly fresh and new. Director Ellis downplay their bickering and focus on their musical reminiscences and thus give full rein to O'Hara's gorgeous soprano and ability to effortlessly scale some of Porter's trills. Will Chase proves that Fred's singing works just fine for a tenor as a baritone.

Another new and thrilling element is the way the sensational "Another Op'nin, Another Show" works as a sensational overture that introduces the entire cast. It's no understatement to say that the entire cast is sensational. the sub-plot's other couple, Lois Lane and Bill Calhoun (Stephanie Styles and Corbin Bleu) to the two gangsters (John Pankow and Lance Coadie Williams) climaxing their task of keeping Lili from leaving the show with their famous "Brush Up Your Shakespeare" duet. True to the show-must-go-on mantra, Christine Cornish Smith validated the importance of having a well-prepared, talented understudy at the ready, as she was when Styles got sick just before the matinee I attended. Smith was outstanding in the show- stopping solo "Always True To You Darling (In My Fashion)" as well as the "why Can't You Behave" and "Tom,Dick and Harry" numbers.

The stunningly choreographed second act opening number "Too Damn Hot" (Photo: Joan Marcus)

To add to the special oomph and sizzle, there's the choreography, set and design work to support and enhance the performances and Mr. Ellis's modern screwball comedy story telling style. Warren Carlyle's incredible choreography has the audience at times gasp at the nimble-footed dancers' leaps and slides. The advances in sophisticated stage settings is reflected David Rockwell's diverse set that shifts from an atmospheric three-level backstage area, to Lily and Fred's dressing rooms, and colorful painted drops for the "Shrew" scenes in Padua. Jeff Mashie's costumes feature authentic 1940s styles, skimpier ones for the sexy high energy dances as well as colorful Renaissance outfits. The excellent design team also features perfect lighting and sound accents by Donald Holder and Brian Ronan.

A final bravo about this Kiss Me Kate's dealing with the more offensive aspects of the Lily-Fred/Katherine-Petruchio relationship. Mr. Ellis has eliminated the famous but infamous spanking scene, directed O'Hara to be a more feisty Katharine and Fred vulnerable enough to capitulate like her to those "So In Love" feelings. As for Amanda Green's additional material. While some revivals of classic musicals test purists tolerance for drastic reinterpretations, Green has taken the approach of a book editor who gently eliminates or alters a line here and there. Thus Katharine's advice to the women has her being ashamed that people (rather than women) are so simple. And her lecture recommends love and tolerance instead of control and submission for peaceful rather than war-like relationships. On the other hand, to maintain the historic authenticity, she's kept true to the period references to the Kinsey report Lili's fiance's General MacArthur like comments about Nixon and Truman.