Thanks to its notorious David Merrick-produced/Patti LuPone-starring died-on-the-road 1976 tryout, the Steven Schwartz/Joseph Stein musical “The Baker’s Wife” landed a reputation as being a lost cause.

Ariana DeBose, the titular star in “The Baker’s Wife.” (Photos by Matt Murphy/Evan Zimmerman )

But like many musical theater lovers, I fell hard for its score – or, at least, the songs for the leads that were the only ones to make it to a recording. The full score was later released from an overblown London production, but that didn’t help its legacy.

Yet when I finally got to see a professional production in 1997 – surprisingly enough at the unassuming Round Barn Theatre at Amish Acres in northern Indiana directed by Schwartz’ son Scott, I saw not an unworkable show but, rather a sweet, funny, audience-pleasing, deceptively simple musical with a big, big heart.

Since then, I’ve been hoping for a major revival, one that could artfully serve this delicate show. And thanks to Classic Stage Company, we have one.

As the intimate show opens, a French village lacks a baker and the already testy locals are even testier towards each other. Enter Amiable, an expert bread maker, and his much younger bride, Genevieve. The villagers’ epicurean joy is seasoned with curiosity and speculation about this May/December couple, but matters get messy when a young hunk shows an interest in Genevieve.

Ariana DeBose, left center, and Scott Bakula, right center, with the cast of “The Baker’s Wife.” (Photo by Matt Murphy/Evan Zimmerman)

Schwartz’s score, composed after his triple-hit run of Godspell, Pippin and The Magic Show, is best known for the audition and cabaret staple “Meadowlark.” But it has many more gifts. From the opening French-to-English “Chanson” through the I’m-not-sure-what-I-want song “Gifts of Love,” the drunken “Any Day Now Day,” the resigned “If I Have to Live Alone,” and more, just about every number is both strongly motivated, character driven, and easy on the ear.

The cast assembled here is stacked. I’ll get to the leads in a moment but first some raves about the supporting players. Judy Kuhn grounds the play from the beginning as the weary but hopeful Denise, able to give as well as receive in dealing with her condescending husband (Robert Cuccioli, whose low-key work pays off beautifully in the second act).

Sally Murphy, an actress who seems incapable of a false moment, slowly and believably reveals the light in Hortense that has nearly been extinguished. I can’t recall a similar small part with such a strong impact. As Antoine, a usually inebriated local gent prone to saying what others are thinking, Kevin Del Aguila (so memorable in Some Like It Hot) keeps a balance between funny and for real. And Nathan Lee Graham (known to TV watchers for the unfortunately short-lived “Mid-Century Modern” sitcom) makes every word a treat as the Marquis.

As Aimiable and Genevieve, Scott Bakula and Ariana DeBose aren’t quite as ideal casting as those above, but they shine nonetheless. He’s described in the rights materials as “jolly” – as opposed to Genevieive, who is described as “beautiful” and “unsatisfied” – and the intent is clearly that by traditional standards, he’s out of her league.

The ballet sequence choreographed by Stephanie Klemons. (Photo by Matt Murphy/Evan Zimmerman)

The plot hinges on that and the two highest profile past productions had two actors unlikely to make the cover of GQ, Paul Sorvino and Alun Armstrong, as Amiable. Bakula is delightful, honest and nimble in the part. His love for Genevieve and willingness to deal with her lack of an equal response is both heartbreaking and understandable. But he’s a handsome older gent and, in a society that doesn’t frown too heavily on older/younger pairings, he still seems to be at least close to her league.

DeBose is a striking presence and reads as smart and strong from the outset. In a show that features minimal dancing, there’s a lovely duet in the second act choreographed by Stephanie Klemons with grace that smartly avoids turning it into a show-off moment for DeBose.

But I never felt the heat between her and Dominique (Kevin William Paul). Hers is a tricky, complex part. For maximum impact, we need to believe that this woman, damaged from a past affair, got to a place where she willingly accepted the proposal of a man she admires and respects but doesn’t have a passion for. Further, we have to buy that the lure of a local horndog tempts her away. That moment of indecision/decision is what “Meadowlark” is all about. And that song is bookended with “Where is the Warmth?,” another decision-to-be-made number in the second act. Again, beautifully sung. But since I never felt any pre- or post-coital heat from her and Dominique, there didn’t seem to be much of a decision to be made.

Cast members of “The Baker’s Wife” by Stephen Schwartz. (Photo by Matt Murphy/Evan Zimmerman)

And yet I was still moved by the powerful reunion scene that Joseph Stein crafted and these two actors delivered. In its own unique, smart, subtle way, director Gordon Greenberg’s production emerged as being more about the impact of this story on the supporting characters than on the leads.

And that felt just right, especially in the up-close world that scenic designer Jason Sherwood and the rest of the team created.

This unified, ready-for-a-long-life production reminded me less of Schwartz’ blockbuster Wicked or the overblown, sad fiasco of The Queen of Versailles and more of The Band’s Visit, a non-Schwartz show. Both celebrate the small things that can enrich life. Both didn’t pretend to be about big-picture issues or high-profile people but quietly reveal themselves to be both deeply human and joyfully entertaining. Both artfully created big impacts from small gestures.

Both had me gasp-sobbing.

The Baker’s Wife has been extended Off-Broadway at the Classic Stage Company, 138 E. 13th St. in New York City from now though December 13. For tickets, click here.