It’s not easy to kill Death Takes a Holiday. This old chestnut about the Grim Reaper taking a much needed vacation was a Broadway hit way back in the 1920s, spawned a successful 1934 movie adaptation starring Fredric March, and was the basis for the much maligned 1998 remake Meet Joe Black, starring Brad Pitt. Its latest incarnation is an off-Broadway musical presented by the Roundabout Theatre Company featuring a score by Maury Yeston, who’s had some experience with the subject with his Tony Award-winning score for Titanic.

The project was begun years ago as a collaboration between Yeston and author Peter Stone, who died in 2003. The book is credited to both Stone and Thomas Meehan, ofThe Producers and Annie fame.

As might be expected from its subject, the show is a tasteful, dignified, and fairly stodgy affair, albeit one with some lovely moments. The creators have wisely not updated the story, setting it in 1921 shortly after World War I, so it’s not surprising that an overworked Death (Julian Ovenden) would need a break.

He takes the human form of Nikolai Sirki, a Russian prince who shows up unexpectedly at the lakeside Italian villa owned by Duke Vittorio Lamberti (Michael Siberry). Not surprisingly, all of the women on hand immediately swoon for the handsome stranger, including the duke’s daughter Grazia (Jill Paice), engaged to the boorish Corrado Montelli (Max von Essen).

The duke, aware of the interloper’s real identity and under strict instructions not to reveal it under threat of, well, death, tries to warn everyone to keep their distance from him. But to no avail, as Grazia quickly forgets about her fiancé and promptly falls in love with Sirki, who, much to his surprise, finds himself returning her affections.

Other characters thrown into the mix include the Duke’s wife (Rebecca Luker); Grazia’s dementia-afflicted grandmother (Linda Balgord) and the elderly doctor (Simon Jones) who’s long loved her; and Grazia’s best friend (Alexandra Socha) and sister-in-law (Mari Davi). Showing up briefly is an American aviator (Matt Cavenaugh) who flew with Grazia’s late brother in the war.

Stone and Meeham’s book strains to give all of these characters their due, with the result that Death is given rather short shrift. More problematic is the general somber tone, alleviated only by the occasional sly touches of humor--“I rarely get many laughs,” admits Death at one point.

Yeston’s operetta-style score is similarly subdued. Although the music and lyrics are certainly proficient, they are rarely inspired, with only one number, “Life’s a Joy,” rising above the dense pack.

Working amidst admittedly modest circumstances—the small stage doesn’t provide much leeway in terms of scene changes and the orchestra is a modest ten pieces—director Doug Hughes doesn’t manage to provide much energy or imagination to the staging.  

The show’s biggest asset is British actor Ovenden in the leading role. This 35-year-old performer is clearly a star on the rise. Displaying matinee idol handsomeness, a chiseled physique (you could practically hear the sighs when he takes off his shirt), a gorgeous tenor voice, and genuine charisma, he single-handedly lifts the show to another level. Hugh Jackman, watch your back.

Laura Pels Theatre, 111 W. 46th St. 212-719-1300. www.roundabouttheatre.org.