The Queen of Versailles, pre-Broadway tryout at Emerson Colonial Theatre, through August 25. www.emersoncolonialtheatre.com

Is the new musical "The Queen of Versailles" an ambitious if as yet overlong work-in-progress? Based on the 2012 Lauren Greenfield documentary film of the same and the life stories of Jackie and David Siegel, the Stephen Schwartz (music and lyrics)-Lindsey Ferrentino (book) show looks to focus on the ups and downs of building the title Florida replica of the famed Louis XIV Palace of Versailles.

Notwithstanding Tony Award-winning and nominated talent, this Broadway-bound effort seems as challenged in its own way as the Siegels and their never-completed though very large (85,000 square feet) Orlando outskirts single family home.

Thanks to a lively Schwartz opener "Because We Can," the construction of this visually striking musical promises a high-powered examination of the project and the goals of the Siegels. That promise also informs the work of the strong design team. Here and throughout , scenic and video designer Dane Laffrey captures the busy opulence—for example, three exquisite chandeliers and wall-covering framed paintings evoking Versailles era figures— and the scope and size of the replica.

Christian Cowan's vivid costumes range from flashy, often bling-adorned outfits for Jackie to casual wear for her unassuming daughter Victoria and adopted niece Jonquil. Natasha Katz's sharp lighting catches the hyped up grandeur of the replica and the intimacy of some family scenes.

Equally auspicious—under Michael Arden's careful direction—is the presence of celebrated actors as the leads. Opening night theatergoers rightly cheered the first appearances of Kristin Chenoweth and F. Murray Abraham. Chenoweth—a wide ranging actress (seen by this critic in her very deserving Tony Award performance in "You're a Good Man, Charlie Brown" and nominated one in "Wicked") brings commanding authority and charisma to the title role as Jackie moves from being crowned the 1993 Mrs. Florida to marrying Jewish time-share resort firm power David (of Westgate Resorts Ltd. Fame) in 2000 and often appearing to take charge of the palatial project. She brings booming confidence to the hopefulness of "Caviar Dreams" and appealing lightness to an early second act duet with Cassondra Jones as Marie Antoinette.

Abraham (memorable as Shylock in a 2011 tour of a "Merchant of Venice" revival and the second season of "The White Lotus") has the right business savvy as David and deep caring for Jackie. While David is relatively supporting here as in the documentary, Abraham does make the most of his narrative 'singing' in the jaunty country western style "The Ballad of the Time Share King."

While Abraham and especially Chenoweth keep the story going, there are two particularly glaring elements in need of work—Ferrentino's fairly uninvolving book and Lauren Yalango-Grant and Christopher Cree Grant's unsatisfying choreography. Ferrentino needs to make Jackie's rocky relationship with her troubled daughter Victoria more moving.

Many audience members may find that Victoria's death and the Siegel's establishment of the Victoria's Voice Foundation to combat drug overdosing need more emotional power in the musical's book. At the same time, there is very little attention to the couple's other children—for instance, very brief attention to their twins.

While Melody Butiu brings compelling feeling to insightful housekeeper-confidante Sofia, there ought to be an actual number in which she can express her disappointments with Jackie as a frequently absentee parent. Also, Ferrentino's book seems to give short shrift to David's alarming dismissal of virtually his entire timeshare staff during the 2008 Great Recession.

More time should also be given to the musical's choreography. A waltz of the Siegels ends far too soon. A soft shoe stretch for their sweet "Trust Me" should be longer as well. The same can be said for a clever minuet that brings together Louis XIV and Jackie. Here too the sequence ends too abruptly. Compensating at times is Pablo David Laucerica's spirit and flair as the Sun King.

Other compensations in the as yet uneven show include two strong supporting performances—Tatum Grace Hopkins' affecting Jonquil and especially Nina White's arrestingly vulnerable Victoria. Hopkins and White share an appealing duet on "Pavane for a Dead Lizard." White delivers Victoria's touching lament "Pretty Always Wins" and her blunt observations in "The Book of Random" with the kind of power that should bring her Tony nomination attention.

Jackie Siegel speaks of American royalty, an idea that can fit Abraham and Chenoweth. Even so, "Queen of Versailles"—with an overlong first act and a somewhat overbearing title character —has a ways to go to be crowned.