As the two-timing, not-so-gentlemanly Proteus, in the New York Public Theater’s rock adaptation of the house playwright’s Two Gentlemen of Verona, the beloved San Juan native and matinee idol Raúl Juliá had some of his finest moments on a New York stage. Fans too young to have witnessed the “Grand New Musical” at its Central Park premiere in the summer of 1971 or in its subsequent Broadway transfer got their shot with the Central Park revival of 2005. This time, Proteus was Oscar Isaac, another Latino, fresh out of Juilliard and on the threshold of a fabulous Hollywood career. Unaccountably, neither the original production nor the revival kindled a lasting fire for the show. Collectors cherish the original cast album, and so they might. The lyrics, some written on the subway as John Guare shuttled between home and rehearsals, have a zany, improvised quality that spoke wittily to Galt MacDermott, who had four years previously scored the Public’s historic Hair. The song list is goofy but infectious, with lots of fleeting numbers woven into a script brilliantly streamlined by Guare in tandem with Mel Shapiro. In the Red Bull Theater’s annual fundraiser, the South Korean-born Hamilton alumnus Jin Ha takes over Juliá’s role—good news for those who caught him last year in Stephen Sondheim’s afterthought Here We Are, at The Shed. If David Hyde Pierce’s dotty Bishop was that vehicle’s ace-in-the-hole, Jin Ha’s Soldier was its revelation, bursting like Rambo into the tedium of Act One to deliver a Buddha-meets-The Tempest meditation on worlds within worlds and dreams within dreams. That’s a song I want to hear again sometime. Meanwhile, here’s Jin Ha to sing the showstopper “Symphony.” Oh, and let’s not overlook Jordan Donica as the more gentlemanly Valentine (formerly Clifton Davis, then Norm Lewis), with moments including “Love’s Revenge” and “Mansion.” Donica, who cut his Broadway teeth as one of the later Raouls of The Phantom of the Opera, has since won kudos as the Lerner & Loewe crooners-in-chief Freddy Eynsford-Hill and a Tony-nominated Lancelot in the Lincoln Center revivals of My Fair Lady and Camelot. —Matthew Gurewitsch