Hewitt's performance as Dr. Frank-N-Furter in The Rocky Horror Show earned him Tony Award and Drama Desk nominations. He played the title role in Broadway's recent Dracula musical in 2004-05.

Performances of the whimsical stage version of the Leslie Bricusse film play Aug. 2-14 at the Benedum Center in Pittsburgh followed by road dates in major markets. The principal cast will also include Nancy Anderson (Broadway's Wonderful Town, A Class Act) as Emma Fairfax/Fox; CLO alumni Tony Yazbeck (Broadway's Oklahoma! and Gypsy ) as Matthew Mug; Ed Dixon (Broadway's Les Misérables, The Iceman Cometh, Off-Broadway's recent Under the Bridge) as Albert Blossom; Eric Michael Gillett as General Bellows/Straight Arrow; Shadoe Alan Brandt as Tommy Stubbins/Duck and Susan J. Jacks as Polynesia. The Equity company will total about 30.

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The CLO-produced national tour will include stage magic by designer Michael Curry, known for puppetry and visual effects on Disney and Cirque du Soleil projects, and director Glenn Casale, who took Peter Pan to new heights in the last decade.

Pittsburgh CLO executive producer Van Kaplan, whose mission includes finding and developing new works for his audience, previously announced the creative team for the newly invented Leslie Bricusse stage musical inspired by the Academy Award-winning 1967 movie and the children's books by Hugh Lofting. Director Casale helped revise the musical Peter Pan for Cathy Rigby in recent years, streamlining and clarifying its storytelling while keeping true to the source material by J.M. Barrie. Casale told Playbill.com what the team wanted to avoid in approaching the material is an A-B-C children's-story narrative that offers little tension. Unlike any other version, the show starts off with something high-stakes: Dolittle on trial for his very life, charged with murder.

Choreography will be by Tony Award-winning Rob Ashford (Thoroughly Modern Millie), a former Pittsburgh CLO dancer who graduated from Point Park College in Pittsburgh.

Kenneth Foy, whose work has been seen at opera houses, on Broadway and in resident and touring houses, is scenic designer.

Broadway's Ken Billington (The Search for Signs of Intelligent Life in the Universe, Dance of the Vampires) will design the lighting.

Orchestrations are by Kim Scharnberg (Little Women, Jekyll & Hyde). Michael Duff is music director.

Costume designer Ann Hould-Ward (Broadway's Into the Woods, Beauty and the Beast, Falsettos, Dance of the Vampires) will create costumes for the famous veterinarian, his romantic interest Emma, and a supporting cast of puppeteer-actors who will be dressed in Victorian garb while manipulating creatures.

In the tradition of The Lion King, actors will often be in plain view as they perform their animal characters, including a monkey, a giant lunar moth, the famous two-headed llama known as the Pushmi-Pullu, a parrot named Polynesia, a lumbering horse, a tap-dancing dog and more.

As a soldier in World War I, Kaplan said, author Lofting was witness to mustard gas attacks and saw the wounded men taken to hospitals, while the poisoned horses were shot.

"This had a big effect on him," Kaplan said. "That's where he got the idea and inspiration to write 'Dr. Dolittle.' Animals are as important as humans: They have souls, they are beings, they're creatures just like we are, so why would they be treated any differently?"

The presence of actors behind the creatures underlines the idea that all creatures great and small have a "life force."

"These animals have souls, so we will create souls with each one," Kaplan said. "The operators will sometimes be seen and sometimes not, through lighting effects."

The production does not mirror the production created for U.K. audiences in 1998, though the basic story remains. To improve on it, "what we decided to do is go back to the original source material, which nobody knows," Kaplan said.

He explained, "The great thing about Doctor Dolittle is that it's a brand. Eddie Murphy made it a household name again. So we have a brand that really needs no explanation — you know what it is. But how do we tell the story? How do we make it interesting? How do we get people engaged? We went back to the Hugh Lofting books."

For the film, Bricusse "pulled from a number of the books," Kaplan said. "Our story is not in any one book. He did [this plot] for the 1967 movie, and the same basic story remains. The way it's told is completely different."

Although Lofting had no formal training as an artist, he was a skilled illustrator whose whimsical (slightly art nouveau) sketches adorned his books. Hould-Ward and Foy's designs echo some of Lofting's original visual ideas.

Nothing about the tour's design sketches indicate that the show is a generic, primary-colors musical comedy — the look is slightly dark, slightly askew.

The show curtain offers some examples of Lofting's quirky artwork, and a Victorian proscenium arch is part of the framework of Foy's design.

"It's late 1800s, there's a certain style to it," Kaplan said. "It's a little off, a little twisted, a little different. You've never seen anything quite like it."

As in the film (which had a screenplay by Bricusse, who wrote the songs, too), Dr. Dolittle is accused of an apparent murder. The show's locations include a jail cell, a court room, the town of Puddlesby, a circus, a ship and an exotic island, where a giant sea snail makes an appearance.

Kaplan said the show's major engine, like all great musicals, involves romance, despite the fact that Dolittle seems more at home talking to animals than to people.

"Part of the storytelling is that Dolittle can't really relate to people," Kaplan said. "He doesn't know how to communicate with people — only animals. It takes Emma, the female character in the story, to teach him how to relate."

The book, music and lyrics for the stage version are by the respected Leslie Bricusse, whose hit songs include "The Candy Man," "Goldfinger" and "What Kind of Fool Am I?," among many more.

Kaplan pursued the American rights to the property and got them — and the active participation of writer-composer Bricusse, who wrote a new opening song and worked with Casale to reinvent and improve the storytelling.

The show is totally new since its London production and retains none of that version's creative team (save for showbiz legend Bricusse). A cast of almost 30 will tour the musical 45-48 weeks in its first year, playing major markets.

Pittsburgh CLO's producing partners are Columbia Artists and The Nederlander Organization.

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Bricusse is no stranger to stage musicals, having collaborated on Jekyll & Hyde; Stop the World — I Want to Get Off; The Roar of the Greasepaint — The Smell of the Crowd and Victor/Victoria, but generations of people know his hit songs from being exposed (as kids) to such family-friendly movies as "Doctor Dolittle" (in which Rex Harrison sang "Talk to the Animals"), "Willy Wonka and the Chocolate Factory" (which included "The Candy Man"), "Scrooge" (known for the haunting "You" and joyous "Thank You Very Much") and the Peter O'Toole-Petula Clark remake of "Goodbye, Mr. Chips" (which offered the romantic ballad "You and I"). With John Barry, he wrote "Goldfinger," and penned a collection of other hits with other writers.

"Talk to the Animals" won the Academy Award for Best Song and the Rex Harrison vehicle won a Special Effects Oscar, and was nominated in a number of categories — including Best Picture in a decade when lavish musicals were routinely produced for the screen.

The score of the stage show includes such songs as "When I Look in Your Eyes," "At the Crossroads" and "I've Never Seen Anything Like It."

For information about the dawning new musical, visit www.doctordolittlethemusical.com.

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Van Kaplan and Pittsburgh CLO have produced several touring productions including the American premiere of Barry Manilow's Copacabana and the world premiere of Casper The Musical starring Chita Rivera, plus the 1998 Joseph and the Amazing Technicolor Dreamcoat with Jodi Benson and the Osmonds.