The Old Globe’s cup runneth over with middle-of-the-road sentimentality as their brand new second stage officially opens with a revival of “I Do! I Do!” simultaneously endearing and soporific.

This is the two-character piece based on Jan de Hartog’s saccharine “The Fourposter” and tailored in 1966 by Tom Jones and Harvey Schmidt (of “The Fantasticks” fame)for Mary Martin and Robert Preston. That’s a large bouquet from the mid-20th Century popular theatre and it’s been a staple ever since.

Hard to go wrong with a sweet musical about the rewards of marriage with plum roles for two charismatic actors and a major hit tune, “My Cup Runneth Over With (deep breath) Looooooooovvvvvvveee...”

For this limited-run inauguration of the new Sheryl and Harvey White Theatre (henceforth until further notice “the White Theatre”), the roles are taken by Patrick Page (last summer’s Cyrano at the Globe) and his actual wife, Paige Davis.

They’re both charmers and, not unexpectedly, they fit together like yin and yang. Interestingly, their two best individual numbers are the struts, “A Well Known Fact” for him and “Flaming Agnes” for her.

Assisted enormously by James Kinney’s custom choreography built from familiar off-the-shelf elements to fit each performer exactly, the routines are pretty much irresistible.

Otherwise, Richard Jay-Alexander has directed with a feather touch, allowing Page full use of his mahogany voice and suave presence and encouraging Miss Davis in her warmly feminine and enormously appealing portrait of a dutiful wife and mother.

Ah, there it is. “Dutiful.” This show is now so out of touch with everyday gender attitudes that it reeks of mothballs. He’s a thick-skinned chauvinist pig but he’s also the wise voice of reason. She’s an adorable air-head who limits herself to tiny sarcasms after a life in a second-rate shadow.

it’s a show about fond adjustments and graceful acceptance of universal blah blah blah and it works best now during a holiday season or in celebrating a special occasion. Preferably both.

A couple of quibbles. That song “My Cup Runneth Over” has been pushed to the second act where its impact is dulled in a scene already too long. In its first-act place, there’s a new little songlet about waiting for the first baby to be born that I found of little interest. And some lines have been changed for no apparent reason: The guy is flummoxed when his son comes in late on New Year’s Eve because boy’s wearing his tuxedo. Yawn. I remember the line as, “He was wearing a top hat.” Maybe not as fashionable now but certainly a cleaner, stronger image.

It’s hard to gripe about such things when Tom Jones himself is in residence, presumably blessing any adjustments. And he is the guy who wrote the delicious line, “It’s time you saw your/Old trusty lawyer.” But, come on. Leave the bone structure alone, please?

Ralph Funicello’s set just sits there with all its props piled around. Charlotte Devaux has supplied reasonable costumes but they can be characters in their own right. Chris Rynne has made a good start on finding the illumination possibilities in a new house.

Where the work needs to be done is in sound. Everything spoken by Patrick Page seemed to waft down from the central collection of speakers overhead, even when he was offstage. And Ben Toth’s piano seemed to be in another room somewhere.

As for the White Theatre, it seems just fine. I was surprised at how much it resembles the Cassius Carter Center Stage, which it replaced. The audience rake is just at the stimulating edge of too steep, the paths to seating are above the audience not across the front row toes and there are indoor privies. Judging from the machinery and exit patterns in view, the house will have many a trick for us.

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DOWNLOAD CAST AND SONG LIST HERE