The show: “Anne of Green Gables” at Goodspeed Opera House in East Haddam.

What is it?: A new musical adaptation of the the 1908 novel by Canadian author Lucy Maud Montgomery and though written for all ages, it and the many sequels and prequels been seen as classic children's novels for decades.

What makes it special?: There have been several attempts at musicalizing the beloved book for the stage and this is the latest attempt. This production has a more contemporary sensibility and its presentation is well, eclectic.

So it’s set in the present?: No. Well, I don’t think so. But the music and costumes and choregraphy would place it in a kind of universe of the story as imagined by contemporary youth. I can go with that. If it’s done well.

And is it?: Mostly.

Sounds a bit like “Spring Awakening’ without the sex: Funny you should mention that show. Yes, it’s like that hit musical of adolescent angst to quite a duplicating degree, including chairs on walls and spastic choreography. When Bill T. Jones staged his expressionistic movements for “Spring Awakening”, they were strategically used and rarely, if ever, upstaged the leading characters. That’s not the case here. I liked the energy and tight ensemble feel that Jennifer Jancuska brings to the choreography but, like so much in the show, editing is needed.

The show will also evoke “Wicked,” in the relationship between Anne and her best friend Diana Berry, as well as in Gilbert, the hot boy in class who has it all. There’s an odd smidgen of “Mean Girls,” too. And the mash-up of period costumes with contemporary flair also recalls “Hamilton”’s revolutionary mix.

That’s quite an appropriation list so I guess you didn't like the show: Guess again. This new “Annie of Green Gables” is often quite wonderful and has the potential to be a terrific new musical with a shot of being a smash. But the creators shouldn’t get complacent now because it’s far from that right now. It needs a fearless hand at reshaping the show. Right now it’s no “Annie of Green Gables.”

Ah, I was wondering when the “Annie” reference would pop up: Well, that show when it had its world premiere at Goodspeed nearly a half-century ago also needed some major retooling. Oh, if only Mike Nichols were here.

He helped re-shape that show, right?: Right. The pluses here is a mostly well-crafted book and lyrics by Matte O’Brien, some fine songs by composer Matt Vinson and a talented cast with several incredible voices. But much of it is, well, just too much.,

What do you mean?: Let’s start with the opening number — which is smart, funny and is completely character driven — and terrifically sung by the show’s title character Juliette Redden (OMG: what a voice), but let’s hold off on that for the moment.

So what’s the problem?: Much of the wordplay and information conveyed in the delicious patter song was drowned out by an over-eager orchestra . Sound balance was required. The delightful song didn’t need any help. It’s a charmer. But that’s the problem with so much of the show. It just doesn't seem to trust the good book and score. It really does not need such desperate help from the choreographer, from the music doctor, even from some of the performers who push way too hard. You want to say, “Relax, you’re actually in a very fine try-out show. Just let it do its work.”

Director Jenn Thompsons staging is more often than not spot on, but she, too, also needs to allow some of the more emotional moments in the script breathe and have their moment before rushing into the next scene.

But the show does need critical help here and there. The first act ender is emotionally confusing. And what the hell does the song “Ashes of My Youth” mean anyway? And confusion continues when the second act opens with a bizarre, sluggish ode to Anne’s friend Diana, who clearly Anne has a crush on, but then what is the class heartthrob Gilbert’s purpose in joining in, too? It’s a drag. The second act seems to have several endings in its wrong-headed effort to tell too much of Anne’s multi-episode stories and novels. Even some little girls near me were nodding off at the protracted ending.

Gee, that’s a long list of criticisms: Fixable all. If there’s a will. Oh, one more thing. The speechifying in several scenes is just pandering. The story itself demonstrate what an empowering story this is for young women.

Production values?: I liked the style of Wilson Chin’s set though he (nor the director) has figured out how to stage the scene where Anne needs rescuing in the river, or pond or wherever it is where she is almost drowning. I could’t figure it out till later in the scene. I liked Tracy Christensen’s patchwork of textures (though the school vixen’s outfit was a cringe). Philip S. Rosenberg’s lighting was extraordinary, capturing just the right mood, from romance, to despair to uplift. I do , however, wish Anne’s multiple wigs were, well, better.

And the performers?: Terrific, for the most part. I was nervous that the Goodspeed tendency to soften and artificially sweeten (see “Cabaret”) would make cuties of Marilla and Matthew, the adult brother and sister who bring the orphan girl Anne into their home. But Sharon Catherine Brown is just about perfect as the no-nonsense guardian (though her big number does not need to be quite so big it almost goes off the rails). And you couldn’t be better than D.C. Anderson, who says more without saying almost anything as the sibling who so wants and needs Anne to stay. Ion a way, he’s the real heart of the show and the figure whom the audience probably most identifies.

As Gilbert, Pierre Marais was charming, tender, natural and sings like a dream. Aurelia Williams as the busybody neighbor just needed to tamp down the mugging a bit — the situation and script was plenty funny on its own — but my, she had the heart and singing pipes to leave a mighty impression. Michelle Veintimilla was a sensational as Anne’s BFF, Diana. She had a voice that soared, a character that charmed, and she was quite the funny girl. Hmm.

And Anne?: Juliette Redden is one of the most talented new performers I’ve seen one stage in ages. Her voice is amazing, She’s has in exhaustible energy and with easy-going humor that kept Anne’s verbosity from being annoying. She’s a sterling actress, too. What an awesome Molly Brown she would make.

But she, well, looks old for Anne’s age and yes, I get that the show covers Anne’s years from tweenhood until she goes to college. I understand and sympathize that when the idea of the show first began many years ago everyone was so much younger. Still, because she is such a sturdy and powerful presence, the audience doesn't easily connect with Anne’s vulnerability. (And one song late in the first act about loneliness isn’t enough.) This is “Anne” with an “e” and not “Annie.” Anne’s resilience is to be admired, but the audience needs to see more of her fragility, too, and not just complaining about her freckles and red hair when we can clearly see she’s a beauty.

I wouldn't spend so much time writing about this show if I didn’t believe in it. The potential is there. The question that the creators have — and which face many whose shows have been in limbo or workshopped to death — will they make the right choices going forward?

Thoughts on leaving the parking lot?: I very much like the show’s poster which signals (with Anne peering over a pair of cool, bright orange sunglasses) that this is a decidedly hipper version of the classic tale. So audiences be advised, it says. (I would even make the artwork a tad more dynamic.) Still, it’s better than most posters for shows that Goodspeed produces. The theater has a terrible reputation for artwork that is either amateurish or rip-offs of the musicals’ original productions. At least for this show — which has some commercial interests engaged and may be reason for the improved graphic — comparatively speaking, this poster rocks.