The show: ”Our Town” by Thornton Wilder at Broadway’s Barrymore Theatre.

What makes it special?: The production stars Jim Parsons, best known for his TV role in the popular “The Big Bang Theory.” But he’s a respected stage actor as well, having played Broadway in “Mother Play,” “The Boys in the Band” and “An Act of God,” among other his many stage credits.

And…?: The production is directed by Kenny Leon, whose staging of “Purlie Victorious” was indeed victorious and was one of my favorite shows — and stagings — of that season.

And…?: It’s by Wilder, who went to Yale, and spent much of his life in New Haven, living in Hamden with his sister. They’re both buried in a cemetery in that town. Other Connecticut connections was that Wilder himself played the Stage Manager at the Westport Country Playhouse (which in 2002 did a production of the play starring Paul Newman, which later transferred to Broadway.

What’s it about?: Life. Love. Death. Time. Existence.

No, really: Yes, really. It truly deals with big themes. For me, what makes a great production of this work is not succumbing to the misconception that this is a quaint and sentimental play. On the contrary, it’s as avant garde as they come. (Edward Albee often spoke of its great daring.) It’s a tough play that should shake an audiences to its core if it’s done right.

And did it?: Sometimes stirred, not shaken. It had many elements I loved and a few that didn't work for me in a production that was more of an amalgam of styles and ideas that a complete clear-eyed whole. Still, I would recommend it because a production of this size and scope doesn't come along that often and there’s always something new to discover in the play — and in ourselves.

And how was Parsons?: As I watched Parsons as the Stage Manager moving the play along at a no-nonsense brisk pace — it’s just one hour and 45 minutes with no intermissions, I thought how right this casting was and admired how good and disciplined he was in it.

In what way?: Of course I know Parsons is so much more than his TV character of Sheldon Cooper — the scientist savant who is perhaps on the spectrum. But Parsons certainly knows how to deftly tap into a character who is emotionally removed yet likable, someone who is fact-driven but when refocused can see the human elements, too; one who sees our life on Earth as it connects to the cosmos; and one who is as far away from sentimentality as it comes. In many ways, that IS the Stage Manager. This is not to say he was channeling Sheldon. Parsons is much too good an actor for that. It’s just what WE as an audience may bring with us and imagine in the actor playing the Stage Manager — sometimes unconsciously — that makes it feel like such a perfect fit.

And the production as a whole?: The play’s starkness — its ability to make big statements in small acts without benefit of scenery or any stage magic — is part of its strength. But this production can’t resist gilding the lily with unnecessary flourishes and an occasion slip into sweetness .

The show opens with the cast arriving with each actor going into personal prayers with music accompaniment supplied by choirmaster Simon Stimson until eventually the Stage Manager turns up to start the plays proper. That was worrisome at first — do we really need to start the show with Simpson? Indeed Leon inserts music far beyond what is necessary — there’s even a pop song (!) in the delicate scene when George and Emily fall in love. Much of these bits were rude intrusions that jolt in a disconcerting way, as if Leon didn't trust the material. That goes double for the pumping of fragrances into the audience — floral scents in the first two acts and bacon in the last. (The latter may have been a half-hearted reference to David Cromer’s production many years ago and his legendary coup de theatre — but here it comes at the cemetery scene! Also the added religious elements struck me as missing Wilder’s more cosmic and non-denominational view of the world.

The cast is mostly good, with some better than others. Excellent are Richard Thomas as Mr. Webb (one can imagine the venerable Thomas as the Stage Manager in another production); a solid Billy Eugene Jones as Dr. Gibbs; Julie Halstion offering her cheeky touches as Mrs. Sloan; Michelle Williams is heartfelt and grounded as Mrs. Gibbs; John McGinty as Howie Newsome takes a small part and makes it significant; Ephram Sykes as George and Zoey Zeutch as Emily are very good (but what a sickly cute dress Deutch is given to wear). Donald Webber Jr., however, misses the deeper complexity of Simon Stimson as does Katie Holmes as Mrs. Webb. Presumably Safiya Kaija Harris was directed to deliver Rebecca Webb’s famous first act-ending speech with over-riped sweetness. Too often many of the actors pushed material that should be as natural as breathing.

Though the play calls for no setting, I did like Beowulf Boritt’s washed-out plank wall and the 100 or so lanterns that stretch out into the audience that gave the production a lovely (but not too much) ethereal touch without taking away focus. (I wondered if he didn’t borrow the lanterns from the 2019 Broadway production of “A Christmas Carol.). Allen Lee Hughes created exquisite lighting through the many moods of the play.

Did you cry at the end?: A tear or two came down but I’ve seen productions where I stifled heaving sobs as best I could.

Who will like it?: Of course, Parsons’ fans, but there’s plenty of name actors in the cast who will also attract admirers. It’s also grand to see such a big-cast show on Broadway for theatergoers, many of whom have grown up with this play starting in high school. A work of this scope deserves it and this production delivers that.

Who won’t?: Cynics who might miss the more profound and often darker meanings of the play and just see it as old-fashioned. For me it is one of the five greatest plays the U.S. has ever produced.

For the kids?: You bet, but what’s interesting is how this play gets to you in different ways at the various stages in your life.

Thoughts on leaving the parking lot: I’ve seen many productions of this classic play over the decades (and plays that reference it, such as Will Eno’s masterful “Middletown.”) I fondly recall Cromer’s off-Broadway production in which he played the Stage Manager. It was on OK production but it became theater legend for its thrilling ending.

The most memorable performance of the Stage Manager that I’ve seen was Hal Holbook’s short-lived run at Hartford Stage (which he left the production after a week for health reasons). This was the third time he played the role and it was a soul-reaching performance I’ll forever remember .