"Much Ado About Love"

Escapist entertainment first turned to the good earth of our country with "Oklahoma." After several seasons when nearly every major offering has glorified the American ideal, it is more escapist and quite refreshing to look at a handsome musical of the best pre-war vintage set far from the North American continent. "Much Ado About Love" takes a fling in Renaissance Italy with a sparkling score, and the very English Melville Cooper to give an Ernest Truex air of sophistication.

Benevenuto Cellini's amorous escapades rank as high in history as his creations of art; Max Gordon's current version may not be authentic, but it is lavish, tasteful theatre, literally bulging at the seams in an effulgent abundance of talent. Ira Gershwin's witty lyrics match the temper of Weill's music well, and Maurice Abravahel gets racing vitality from the orchestra. Catherine Littlefield has met the choreography assignment with dancing that whips merrily along at a tingling clip. Raoul Pene DuBois prepared dazzling costumes, Jo Mielziner splendiferous settings, and to top it all off, the staging was handled by John Murray Anderson. In an array of leading names such as this, one is justified in expecting something highly professional.

If it is anything, "Much Ado About Love" is certainly a professional job.' Probably the only main flaw is that there is so much lush looking that it occasionally becomes a little overwhelming. With out the lightening touches of Mr. Cooper's bumbling tally-ho manner--so competent and sure that it is a pure joy--and the bright verve of Weill's songs--"Sing Me Not a Ballad" or "You're Far Too Near Me"--"Much Ado About Love" could very easily seem over-stuffed. Opening night there was far too much material, but there was enough expert stagecraft to notice that a new musical comedy hit is heading happily for Broadway. ssh