Music and lyrics by Stephen Schwartz. Book by David Stern. Directed and choreographed by Max Reimer. A WRS Productions production. At Presentation House Theatre on October 28. Continues until November 8

The songs tell their own stories better than the story this show tries to tell with them.

If you’re a musical-theatre fan, you know who Stephen Schwartz is: his composer and lyricist credits include legendary shows like Godspell and Wicked. Snapshots showcases songs from Schwartz’s nearly half-century career, but instead of a straightforward revue, writer David Stern fits the songs into the tale of a mature couple, Dan and Sue, looking back at photos of their younger selves. This isn’t idle reminiscing: Sue is about to leave the relationship, and as the photos come to life, Dan tries to convince her to stay.

Under Max Reimer’s direction, this creaky premise leaves Stephen Aberle and Annabel Kershaw, who play the present-day Dan and Sue, standing around on-stage, watching a lot of the time. Two other sets of actors play the kids, Danny and Susie, and young adults, Daniel and Susan. The scenario also makes for plenty of clunky, tedious exposition, as Dan and Sue remind each other of experiences they’ve shared. Turns out they were friends for years—from childhood, even!—before they finally got together. But who cares? If their relationship is at stake, the important memories start when it does—but that doesn’t happen till the end of the first act.

So, does Snapshots feel long? Yes. But there are some things that work. Top of the list is Jocelyn Gauthier, who plays Susan. Gauthier is a powerhouse singer who knows when to pull back, and an actor capable of heartbreaking nuance: we see her dreams and disillusionment coalesce in her moving take on “Lion Tamer”. Steve Maddock also sings beautifully and is an open-hearted Daniel. Georgia Swinton gives the younger Susie a slightly cartoonish feel; she shines in a quick-change portrayal of a clutch of Daniel’s lovers. But at the preview performance I attended, Aberle, Kershaw, and Daniel Johnston as Danny were out of their depth as both actors and singers.

The music, by music director and keyboardist Wendy Bross Stuart, along with guitarist Mark Richardson and bassist Monica Sumulong, is pleasant, though there’s a certain

sameness to a lot of the songs. Still, Schwartz evokes some powerful emotions: from the exuberance of Godspell’s “All Good Gifts” to the bleak complacency of “Code of Silence”, which will resonate with anyone in a middle-aged relationship.

At their best, the songs are powerful. They’d be better showcased without the story.