`BABES IN ARMS' A NEAT WAY TO SPRING INTO SPRING

Rodgers and Hart! Who can match 'em? One of the famous duo's best-loved musicals is being give a delightful revival, opening tonight "on Broadway" in Cape Girardeau.

"Babes in Arms," produced by Broadway Community Theater, is a sparkling reprise of one of Richard Rodgers' and Lorenz Hart's most enduring musical comedies (some of us knew it first as a 1930s Judy Garland-Mickey Rooney movie), and will have three performances here at 7:30 tonight and Saturday, and at 3 p.m. Sunday, at Concord Theater, 420 Broadway. (What joy if there's enough enthusiasm to demand extension into a second week the show and its cast deserve it!)

As a matter of fact, Broadway Community Theater is in itself a delightful reprise carrying on a very long, albeit somewhat sporadic, tradition of the interest Cape Girardeans and area residents have long displayed in live theater, both as participants and audience.

In these days of raucous racket and para-pornography, "Babes in Arms" is refreshingly "clean," but certainly not icky-sticky-goo, family fare there's plenty of romance to go 'round, amid loads of laugh-provoking mixups as starry-eyed kids face ego-ridden persons (can they really be adults?) and money-grubbing entrepreneurs who try to take advantage of youthful innocence and vulnerability.

(Incidentally, to the extent that it's backed by the Southeast Missouri Council on the Arts, "Babes in Arms" is a great answer to the handful of grubby grinches who think that no public monies should go to "the arts" just because a couple of worms happened to fall into the cider mill.)

The "starry-eyed kids," in this case, include a bright assortment of youthful, barely-paid apprentices who are working their hearts out in the Surf and Sound Playhouse, "Cape Cod's most intimate summer theater," run by rascally Seymour Fleming (suitably played by Richard Behring), who's determined not only to milk every ounce of energy out of the youths but also to wrest final playhouse ownership from Bunny (the traditional broad with a heart of gold), acted and sung by Tamera Petzold, who gives us a happy reminder that this is the show that introduced "The Lady is A Tramp" and "Johnny One-Note."

Romantic leads are Val, well-portrayed by Jason Woehrle, whose training and experience show to good advantage, and engagingly enthusiastic Susie, enacted well by sweet-voiced Jenny Adams.

Comedy leads are innocent sexpot Terry (played with a special glow by Amy Diebold) and Gus, given a robust interpretation by Bryan Parker.

The path of true love ne'er did run smooth (as note the full renditions and reprises of such numbers as "I Wish I Were in Love Again," "Where or When," "My Funny Valentine," and "You're Nearer"), and complications arise for Val and Susie with the arrival of movie actress Jennifer (played by Janet Rachell), who is pushed around by her proverbial "stage mamma," Phyllis (done to a "T" by Jeanne Holley).

Add, of course, that egotistical playwright-actor-general nerd Lee Calhoun (dapper, natty Joe Sherinski's Southern drawl is so thick you'd love to give him a good dose of sassafras tea), author of Fleming's latest fare, "The Deep North." On stage alone, with his beloved opus literally falling apart in his hands, he's hilarious.

And who could overlook the hunk, Ed Dickherber, who as boy-producer-genius Steve Edwards is a bit more to at least two ladies of the company his handsome presence might well launch a thousand well, somethings!

Lori Lane as the Press Agent fills the audience in on the sequence of activities at various points during the show, and the "Babes," appropriately caught in freeze frames, show themselves to be equally adept in these postures as when they are at full steam in action, song, chorus line, and ballet.

Each gives an individual performance without breaking the ensemble spirit of the show, but deserving of special mention is the comedic portrayal of Peter by tall, skinny, skilled Marty Strohmeyer; other warm fuzzies are Amy Higgins as Betty, Debbie Jansen as Libby, and Ann Ruggiero as Nancy.

And believe you me, when these Babes in Arms get up in arms about unfairness and broken promises (Fleming back out on producing a revue Val has written and they've all slaved to do) watch out! "Play day is done, we've a place in the sun we must fight for!" And fight they do!

All's well that ends well, of course, but it's a bumpy ride part of the way, and one wouldn't exactly like to be in Fleming's shoes when the Babes (with a little assistance from kindred spirits) don't so much rock his cradle as capsize his boat!

Jerry McKee exhibits a sure, firm hand as director, bringing excellent skills acquired elsewhere to meet local (or aren't they really universal?) needs, especially in melding the varied talents of a real community group of players.

He's ably assisted by Laura Brothers as stage manager, Brenda Diebold as assistant stage manager, Ann Swanson as musical director (tricky business, well done), and Leslie Wells as choreographer (all those arms and legs and feet whew!) to give audiences a most enjoyable family show. What a neat way to spring into Spring!

Thanks, Broadway Community Theater, for revival of memories and hopes, and for "Babes in Arms."