What do “American Idol” alumni do when they graduate? Some make hit records. Some fade into obscurity. And some — like Diana DeGarmo, Clay Aiken and three members of the “Ain’t Misbehavin’” national tour at the Fox Theatre — turn to musical theater.

Just when these “Idols” thought they’d escaped Simon Cowell, along come the critics and the musical mavens, many of whom were critiquing and clucking about the craft long before most of these talents were born. One of the cultural gripes of the moment is the way the “Idol” style pervades performing today. Young singers with little life experience belt their hearts out while making little emotional connection to the material.

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Debra Meeks

‘American Idol’ alumnus Ruben Studdard is in a touring production of ‘Ain’t Misbehavin’.’

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THEATER REVIEW
"Ain't Misbehavin' "
Grade: C Thursday-Sunday. $14-$43. Broadway Across America-Atlanta, Fox Theatre, 660 Peachtree St. N.E., Midtown. 404-817-8700; www.ticketmaster.com

In this 30th anniversary production of “Ain’t Misbehavin’ ” — staged by the original creative team of Richard Maltby Jr. (direction) and Arthur Faria (choreography) — “Idol” alumni Ruben Studdard, Frenchie Davis and Trenyce Cobbins not only show scant connections with jazz master Fats Waller’s foolproof canon, they also make few connections with one another.

Character building is not a strong suit of this company.

Although there are some awfully good singers here, there doesn’t seem to be strong sense of ensemble — or many barn-burning breakout numbers, for that matter. So for most of opening night’s first act, actors wandered onstage and did lukewarm dance steps while every klutzy crash or bit of robust breathing was amplified by their microphones.

We heard Ruben’s purr before he uttered a word.

The technical snafus can be fixed. But the casting decisions are a larger conundrum. For now, better to sit back and enjoy the small moments of sparkling comedy and spectacular singing offered by Studdard and his gaggle of female cohorts. (David Jennings and the lovely Patrice Covington round out the cast.)

Happily, the music seems a lot crisper once pianist David Alan Bunn is joined by the full orchestra, whose playing seems to smooth out the rough edges. And for the most part, Studdard looks like he’s having a good time. He warms up slowly but delivers the goods in the scale-tripping “Jitterbug Waltz” with Covington. His one-liners and big comedic number, “Big Feet,” are so deliciously silly that you forgive him if he lapses into pop-concert mode toward the end of the night.

Cobbins has fun with “Yacht Club Swing” — all squeaky and giggly — and Covington does a hilarious Florence Foster Jenkins diva-turn in the war-time number “When the Nylons Bloom Again.” When all is said and sung, Covington and Davis have the strongest chops and the most professional attitudes in the bunch.

It’s nice to see that set designer John Lee Beatty has dutifully reconstructed the plush red banquettes and soaring contours of a sophisticated Jazz Age boite; and costume artist Randy Barcelo, the sequins, hats and dresses of that bygone age.

Alas, the Simon Cowell in me left the theater thinking that I’ve seen better productions of this original jukebox musical by small Atlanta theaters. Nothing wrong with plucking stars from “American Idol.” But for a national tour with Broadway aspirations, you expect more polish than this.

Plainly put, this joint’s not jumpin’.