I was fortunate enough to catch one of the final performances of “Music City,” the country-themed Off Broadway musical where the action takes place in a fabricated honky-tonk bar – the Wicked Tickle – and audience members are essentially bar patrons. The show is a telling tale of musical strivers hoping to make it big in Nashville (aka Music City). And it boasts a terrific score by J.T. Harding, featuring songs previously recorded by some of country music’s biggest stars.

The only problem? The belly-up-to-the-bar thing works against the unfolding drama.

It has the action spilling all over the theater (er, bar) – think quarrels six inches in front of your face. But this isn’t a goofball affair a la “Tony n’ Tina’s Wedding.” Nor is it a full-scale immersive affair a la “Sleep No More.” Rather, it’s a compelling work of musical theater that cries out to be staged conventionally in a proscenium-style venue.

And that’s before you consider matters of physical comfort. As in the fact audience members have to strain their necks to see some of the action because it’s not always directly in front of them. And since the chairs are basically bar chairs, they’re nowhere near as cushioned as your traditional theater seats. Let’s just say after nearly three hours your butt needs a reprieve.

None of this might matter if “Music City” wasn’t so damn good on its own terms. I suspect some producers and creators embrace the immersive concept because it’s become fashionable. But certain shows earn their immersiveness because it’s hard-wired into their DNA. Others are just genuine works of theater and are arguably stronger without the immersive bells and whistles. In my book, “Music City” falls into the latter category. I, for one, can’t wait to see it again...on a regular stage.