Although I have seen the theatre treasure Kelli O&rsquo;Hara on Broadway only a handful of times&mdash;including in her Tony Award-winning performance as Anna, in the 2015 revival of Rodgers and Hammerstein&rsquo;s &ldquo;The King and I&rdquo;&mdash;I always feel as though I&rsquo;d just watched her in one thing or another, or read something about her, or maybe even glimpsed her on the street. This sensation is due, in large part, to the familiarity she projects onstage and engenders in her audience, regardless of the role she&rsquo;s playing. Lovely and light in her approach to her characters&rsquo; motivations and actions, O&rsquo;Hara expresses herself through a very particular prism: she makes us feel that, no matter what conflicts tear at the seams of the story being told, it somehow relates to all of us. And it&rsquo;s a pleasure to watch as O&rsquo;Hara refuses to allow pretense into her pretending: in her best work, she shows, as clearly as she can and without overthinking her impulses, what defines you and you and you. Possessed of an exceptional warmth and charity toward other performers, though never condescending, she&rsquo;s an actress who is free, it seems, of &ldquo;drama.&rdquo;To my mind, only O&rsquo;Hara could have taken on the role of Cathy Whitaker, a nineteen-fifties housewife who becomes romantically involved with a black man, in the 2013 musical version of Todd Haynes&rsquo;s 2002 movie, &ldquo;Far from Heaven.&rdquo; There were a lot of plot points to cover in the show&mdash;Cathy&rsquo;s husband is gay, the town she lives in is pretty much segregated, and so on&mdash; yet O&rsquo;Hara presented the story not as a series of crises, the shattering and remaking of various intimacies, but, rather, as an opportunity to offer the audience a view into the ways in which society can dictate how women live their lives. It was a mournful show, and O&rsquo;Hara added a kind of unwritten score beneath the musical proper. It was a small, plaintive, lonely sound, not spoken or sung but still audible, thanks to the force of O&rsquo;Hara&rsquo;s rendering&mdash;the smallness was that of Cathy&rsquo;s life.That all these pluses add up to a minus for O&rsquo;Hara in the revival of Cole Porter&rsquo;s 1948 musical, &ldquo;Kiss Me, Kate&rdquo; (a Roundabout Theatre Company production, at Studio 54, under the direction of Scott Ellis), tells you just how much of a hindrance preternatural kindness can be in a story that revolves, partly, around actressy grandstanding. Porter wrote &ldquo;Kiss Me, Kate&rdquo;&mdash;his twenty-first Broadway show&mdash;in the midst of great physical pain, caused by the aftermath of a terrible horse-riding accident. But pain was never the subject of his effervescent, literate work. Longing was, and it&rsquo;s longing&mdash;the inconvenience, the heartache, and the joy that one experiences while longing for another, especially if that other got away&mdash;that his heroine, Lilli Vanessi (O&rsquo;Hara), expresses for her director, co-star, and former husband, Fred Graham (the lively Will Chase).Fred is staging a production of &ldquo;The Taming of the Shrew,&rdquo; in which he plays Petruchio, the suitor who eventually wins the hand of the tough and tough-talking Katherina (played by Lilli), the daughter of a Paduan lord. Petruchio &ldquo;tames&rdquo; the shrew by surprising her: when they meet, he doesn&rsquo;t hurl her invectives back at her, as a less intelligent man might; he throws her off by treating her rude words as a kind of caress, and turns her on with his skill with language. Once he has won her, Petruchio resorts to more primitive methods to control Katherina, such as denying her food and clothing, and, in the end, she is remade as an ideal wife: docile, dependent on Petruchio&rsquo;s attention and his power over her.That&rsquo;s one narrative line in the script of &ldquo;Kiss Me, Kate&rdquo;&mdash;Shakespeare&rsquo;s. Another was written by Sam and Bella Spewack, who also co-wrote the 1940 screwball comedy &ldquo;My Favorite Wife,&rdquo; and it involves the usual staples of comic mayhem&mdash;mistaken identity, crooks, and so on&mdash;as well as a director and his muse who are at odds with each other until they realize what they have and have had all along: a shared creativity that heightens their love. Theatre is a corrective to whatever each finds uncontrollable in the other.From the 1934 film &ldquo;Twentieth Century,&rdquo; starring Carole Lombard and John Barrymore, to the underrated masterpiece &ldquo;Esther Kahn&rdquo; (2000), with Summer Phoenix, many works have been written about the complicated relationship between a female performer and a male director. What creates the tension in almost all of them is not so much the director&rsquo;s wish to control his prot&eacute;g&eacute;e as the actress&rsquo;s success in becoming a star and exercising the self-interest of one&mdash;revelling in the diminished power of the man who used to run the show. The Spewacks were an inspired choice to pen the script; they had a famously tumultuous marriage and they understood the push and pull that many directors and actors engage in as part of their process&mdash;an exchange that, inevitably, replicates certain traditional gender battles. These are twisted versions of human intimacy, and, while they aren&rsquo;t beyond O&rsquo;Hara&rsquo;s understanding, she doesn&rsquo;t add anything to the script&rsquo;s underbelly of domination and strife. She is perfect when Katherina (and thus Lilli) kisses Petruchio (Fred), but we don&rsquo;t see her trials or how they have transformed her. O&rsquo;Hara lacks the all-out physical ruthlessness of an Audra McDonald or the scratch and bite that Patti LuPone would have brought to the role. Because O&rsquo;Hara&rsquo;s Lilli doesn&rsquo;t seem to feel oppressed, she has nothing to struggle against, and her diva displays none of the divadom that &ldquo;Kiss Me, Kate&rdquo; requires.In its time, &ldquo;Kiss Me, Kate&rdquo; conferred some welcome sophistication on the backstage-musical genre. I don&rsquo;t really know what, if anything, &ldquo;Be More Chill&rdquo; (at the Lyceum, with music and lyrics by Joe Iconis and book by Joe Tracz) contributes to the contemporary musical form. Although it&rsquo;s based on Ned Vizzini&rsquo;s popular &eacute;004 young-adult novel, &ldquo;Be More Chill&rdquo; feels like an old show, or a lesser version of a show we&rsquo;ve already seen and liked better, such as the &eacute;016 Broadway staging of &ldquo;Dear Evan Hansen.&rdquo; In a musical market dominated by sweet stories with little conflict and happy endings, &ldquo;Dear Evan Hansen&rdquo; offered audiences something fresh: a protagonist who isn&rsquo;t especially likable. In fact, Evan is creepy. He lies to be liked, and his great desire&mdash;to belong to a society that is creepy, too&mdash; only makes his story that much more disturbing and memorable.Like Evan, &ldquo;Be More Chill&rdquo; &rsquo;s Jeremy Heere (Will Roland) wants to belong to something, and, of course, it&rsquo;s the world of the cool kids at school that he aspires to, but they&rsquo;re not really having it. He&rsquo;s an outsider&rsquo;s outsider, an only child living with a single father, Mr. Heere ( Jason SweetTooth Williams), who munches on Cap&rsquo;n Crunch and doesn&rsquo;t really hear Jeremy: he&rsquo;s locked in post-breakup grief, or frozen in something like adolescence himself. Mr. Heere and his son are starving for emotional nourishment, and Jeremy wants to find it in Christine Canigula (Stephanie Hsu), a popular classmate. Hsu is amusing and energetic as a theatre-mad adolescent, but what can she do to make any of these clich&eacute;s resonate, especially once a science-fiction element is introduced, rocketing the already flimsy plot up to the galaxies of bad show biz? Like Hsu, Tiffany Mann, who plays the school gossip, Jenna, is a talented performer I was happy to watch and learn from. She has an amazing set of pipes, and the emotional truth she fights for in her songs lies not in the lyrics or the music but in her soul. And yet, because she&rsquo;s black, the director, Stephen Brackett, has her black it up at times&mdash;you know, by being sassy and the like&mdash;and it was in those moments especially that I wondered where Vizzini&rsquo;s sensitive story of inclusion had gone, and why.

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