The musical Trevor with book and lyrics by Dan Collins and music by Julianne Wick Davis manages to run an emotional continuum from delightful, funny and whimsical to poignant, profound and heart-breakingly current. Based on the 1994 titular short film which inspired a suicide prevention organization, The Trevor Project, the musical comedy delivers without being a hokey, silly-serious “message” play. This is principally due to the vibrant direction by Marc Bruni, the fine cast lead by the impish Holden William Hagelberger, the energetic musical direction by Matt Deitchman and the ebullient choreography by Josh Prince.

As a result, the musical comedy soars just high enough in the first act without burning itself up in the second, which takes a dark turn but remains ironic and soulfully empathetic. Its subject matter remains human and will touch even the most hard-hearted bigots who were never “cool” or “awesomely popular” in school. Above all Trevor touches upon the human need to be inspired by secret goals and dreams, which keep us enthusiasts of life and young at heart.

The original story by Celeste Lecesne generated the Academy Award-winning short film “Trevor” directed by Peggy Raiski and produced by Randy Stone. The film serves as an excellent foundation for the stage adaptation because it resonates with the familiar and never stands on sanctimony. Unfortunately, the all too probable “real life” situation provides the key conflict in the musical. What Trevor faces happens every day in a school in every school system in the nation to kids who are brave enough not to fit in despite the pain and bullying miscreants who will punish them for it out of cowardice and fear.

The musical in its New York premiere highlights the enthusiastic teen, Diana Ross fan and wanna be singer and performer Trevor, who is coming into his gay identity which he accepts and reconciles by the end of the production. Trevor lives in a suburb in 1981 before LGBTQ was “a thing” and at the outset of the AIDS crisis before it was “identified” as such. Neither of those factor into the arc of Trevor’s discovery and affirmation of himself which is a huge plus. Indeed, we are only caught up in the dramadey of this coming of age story without the angst or preachy assertions about gender identity. Trevor is and because he is, he is unequivocally acceptable and adorable in the human family.

Trevor’s uptight Catholic parents (Sally Wilfert, Jarrod Zimmerman) are clueless. Their fearful refusal to acknowledge that Trevor might be “gay” is humorous (thanks to Wilfert and Zimmerman). Their lack of understanding provides one of the conflicts in the production when they deliver Trevor to Father Joe, a Catholic priest for counseling. He is as helpful as a rock and Trevor’s reaction and the situation provides irony and humor. Importantly, Trevor must work out his own “redemption” for himself with the help of his friends, however difficult that is. Nevertheless, it is his talent and his dreams and interests that see him through the dark times.

Holden William Hagelberger is a likable and cheerful Trevor who is involved in his own world with his school friends, the funny geek Walter (Aryan Simhadri) and the awkward, humorous Cathy (Alyssa Emily Marvin) with glasses and rubber bands on her braces. Trevor is considered weird by the other kids in school, but fate throws him in with Pinky (the fine Sammy Dell) one of the most popular kids. Pinky is kind to Trevor who gives him help to hook up with Frannie (Isabel Medina).

As Pinky and Trevor become friendly, Trevor finds himself “falling for” Pinky, having his first crush on a guy. Unfortunately, the friendship turns sour when someone steals Trevor’s notebook which has entries that indicate how much Pinky means to him. When Trevor’s classmates treat him as an “invisible” to punish him for his “crush” on Pinky, Trevor is devastated and takes it out on himself.

The turning point in the play with the number “Your Life is Over,” is campy and staged well (as are most of the musical numbers). The serious subject of suicide (Trevor tries to OD on Aspirin) is dealt with as a Diva’s comedic irony, skirting the edge of darkness successfully. Yet, the seriousness of what occurs is noted with concern and reverence.

How Trevor comes out of his morass of emotions with the help of his friends, and specifically his trust in the magically realistic Diana Ross (Yasmeen Sulieman) who appears and disappears when he needs her, encourages and enlightens. Indeed, Diana Ross is an extension of Trevor’s talent and wisdom. In his reliance on this inner ethos, we are released into an uplifting resolution in Act II.

Trevor does not wear political correctness on its sleeve. Nor does it beat its breast with finger-pointing. In remaining real and human, the creators hit this production out of the ballpark with its humor, music and the ensemble’s energy. Its appeal is wide-ranging. Who would not uplift being decent and kind? Who would disavow the Golden Rule to do unto others as we would have them do unto us? These values are cross-cultural, cross-national, cross-global. In its message, the production is not self-aggrandizing nor pushing any political stance. How refreshing! As such, that is Trevor’s strength and why it should be performed in schools across the nation.

Kudos to the creative team, to the director’s apt shepherding of the ensemble who does a bang up job led by Diana Ross (Yasmeen Sulieman) Trevor (Holden William Hagelberger) and Pinky (Sammy Dell). For tickets and times to see this must-see musical go to their website. https://www.trevorthemusical.com/?gclid=Cj0KCQiA-K2MBhC-ARIsAMtLKRsWL0YelVs_Hh9DC-KAOX76sPUOKMSwC-3EmKmF0YoUMHsHeY_bhQEaAtPGEALw_wcB