Civic Light's `Nanette' Will Leave You Humming

----------------------------------------------------------------- Theater review

"No, No, Nanette," by Otto Harbach, Frank Mandel, Vincent Youmans and Irving Caesar. Produced by Civic Light Opera at the Jane Addams Theatre, 11051 34th Ave. N.E. Plays Fridays-Sundays through Oct. 21; 363-2809. -----------------------------------------------------------------

That "Nanette!" What a dear she is in the Civic Light Opera's opening-season production of that classic Broadway musical "No, No, Nanette," which opened last week before an enthusiastic audience.

And why wouldn't they be? "Nanette" is a tune-filled, tap-happy musical in the old tradition. It's been a success ever since its premiere in Detroit in 1924, on through touring and London companies, a hugely successful Broadway revival in 1971 that ran longer there than the original, and movie versions in 1930, 1940 and 1950.

Otto Harbach and Frank Mandel's original story - well, not that original! - concerns the usual lovers' quarrels and mistaken identities that have been comedy staples since theater was invented. But it's the music and dancing that have always made "Nanette" such a crowd-pleaser - surely first-nighters, after the show opened on Broadway in 1925, went home whistling Vincent Youmans' "Tea for Two" and "I Want to Be Happy," just as you will after seeing the Civic Light Opera show.

You'll also be humming "Too Many Rings Around Rosie," "You Can Dance With Any Girl," "Take a Little One-Step" and "Where Has My Hubby Gone Blues," the latter a terrific song that inexplicably never became the standard it deserved to be.

Director Jeff Steitzer has assembled a good cast, all of whom perform with zest and make honest attempts at creating a 1920s feeling. Beth Madsen is a delight as Nanette with Tom Marino properly stuffy as her True Love.

Krystyn Colliander is smashing as the worldly Lucille, making the most of her three songs and wearing eye-catching costumes by Carl Bronsdon.

Kyle Cable brings a '20s suavity to the role of Lucille's husband, Billy, while Stephanie Capener, Meg Edwards and Amanda Brown have fun as three vamps who seem borrowed from "Ya Gotta Have a Gimmick" in "Gypsy."

Special mention goes to Dale Green, funny and lovable and exactly right as the wealthy Bible publisher who just wants everyone to be happy. It's a role easy to caricature, either as the Dirty Old Man or Doddering Old Fool. Green makes him into a lovable scene-stealer.

Paula Nelson and Judy Ann Moulton complete the cast, along with an ensemble of energetic singers and dancers as Bright Young Things who offer lively interpretations of Mayme Thompson's flashy choreography - no mean feat on Jane Addams' small stage.

Jeanne Franz's set design is smart, as are the costumes in general (although the male ensemble need period bathing suits for their "Peach on the Beach" number). The orchestra, under Mary Levine's direction, provides bright and brassy interpretation of this much-loved score. Taken together, these ingredients are almost a money-back guarantee you'll say "Yes! Yes!" to "No, No, Nanette."