The show has pluses and minuses. Stroman knows her way around shadows and light in dance-driven shows. She guided the multitextured Tony-winner “Contact” in 2000. Music by Kander, represented on Broadway with “Cabaret,” is pretty and stirring. The dancing is strong and elegant. Dvorovenko is light on her feet and powerful. Yazbeck reeks ease and athleticism. But a twirling, leaping, posing chorus of women at times gets silly. As directed, Marcher’s fear sometimes appears to be acute appendicitis.