“Sinatra: The Musical,” which opened last week at London’s Aldwych Theatre, offers a collection of Frank Sinatra’s well-known songs but struggles to deliver the vitality expected from a show about the legendary singer. Directed and choreographed by Tony Award winner Kathleen Marshall, with a book by fellow Tony winner Joe DiPietro, the production follows Sinatra’s life and career but often feels routine and lacking in dramatic spark.

The musical traces key moments from Sinatra’s journey, including his 1954 Academy Award win for “From Here to Eternity,” a role he was not originally cast for, and highlights his comeback in the recording industry. Yet the narrative moves rapidly between scenes, touching on his personal and professional challenges without fully delving into the complexity of those events. Notably absent is any mention of Sinatra’s marriage to Mia Farrow, focusing instead on his reputation as a hard-drinking womanizer whose extraordinary voice secured his place in music history.

Joel Harper-Jackson, the English actor who assumed the lead role for the London debut, delivers a stylish portrayal of Sinatra, bringing charisma to numbers such as “My Way” and “Theme from New York, New York.” Supporting roles include Phoebe Panaretos as Nancy Sinatra, whose weary portrayal of Sinatra’s first wife underscores the strains of their marriage, and Ana Villafane as his second wife, Ava Gardner, serenaded with “Witchcraft.” The brief appearances of other iconic figures like Marlene Dietrich, Judy Garland, and Billie Holiday add texture but do not significantly advance the plot.

Musically, the production benefits from the work of musical supervisor Gareth Valentine and orchestrator Larry Blank, backed by a 17-piece orchestra that elevates the show’s lively big band numbers. However, the production’s design elements, including Peter McKintosh’s sliding sets and Bruno Poet’s lighting, contribute to a somewhat gloomy atmosphere and fail to create a sustained sense of place or mood.

The script includes candid references to Sinatra’s tumultuous personal life, including his infidelities and connections to organized crime, though these aspects are treated with limited depth. The story unfolds quickly, with little time spent on any single event, and some scenes, such as a trip to Hawaii, serve mainly to accommodate dance sequences rather than advance the narrative.

While fans of Sinatra’s music will find familiar hits presented in sequence, the musical itself falls short of delivering the emotional payoff or energy that might elevate it beyond a standard biographical revue. Given the competitive history of music-themed shows in London and their varied success in transferring to Broadway, the future trajectory of “Sinatra: The Musical” remains uncertain.