High Fidelity, Imperial Theatre, New York

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The Top Five reasons why you, a regular guy, might want to see the new musical High Fidelity:

1) As a white, middle-class, heterosexual male who tries to avoid Broadway musicals, you will find that this story of a white, middle-class, heterosexual male who tries to avoid Broadway musicals entertaining enough to force a revision of your biases;

2) High Fidelity will help you discard the attitude that enjoying choreography is girly. And, besides, most of the dancing here consists of Rob, who owns a record store in Brooklyn, knocking about with his misfit employees in a way not much different from how you and your buddies staggered down the Vegas Strip last summer;

3) The show’s music sounds a lot like the Rock Classics playlist on your i-Pod: there’s Rob’s number with the Springsteen vibe; the Who air-guitar flourishes from record-store snob Barry; and even some Led Zeppy licks. Yeah, High Fidelity’s eclectic music (by Tom Kitt, with clever lyrics by Amanda Green) may be a little old-school. But at least it’s not ancient-school.

4) Will Chase, who plays Rob, isn’t a preening toff who makes Broadway shows seem like extended commercials for teeth whitener. And Rob’s latest squeeze, Laura, has a terrific voice, and a figure that reminds you of one of your Top Five Breakups.

5) In this terrifically good-natured evening, which perhaps might have sat better in a snug off-Broadway house than in the hall that once housed Dreamgirls, Hornby’s love of lists is reduced to a bearable minimum.
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