It was election night at the Majestic when "The Star Gazer" had its premiere. At 9.40 p. m., with two acts heard from, it looked like a winner, and the box office conceded success. But late returns from the third act stopped the landslide, reduced the margin of victory, and may even necessitate a recount to put the show in the running.

The first two acts were rather pretty, but the last one was pretty near the line. Censoring may redeem it, but it will take broad sweeps of the blue pencil. For the story is of Ann, a seminary girl of a century ago in Bath, England, who marries an absorbed astronomer and finds herself running a poor second to the constellations, even before her honeymoon is over. She sets about to bring her husband from lethargy to loving in that third act, and her methods caused nobody to ask how old was Ann. They all knew she was extremely wise for her age, whatever it might be.

Lehar's Viennese music blended nicely with the Bath setting, and there are some really fine songs for the fine voices of John Charles Thomas and Beth Lydy to sing--after they become confident of their lyrics. In costuming, the production grazed the point of profligacy. There were yards of silks and satins for those costumes of 1830, and what the Messrs. Shubert saved in decollete dressing they had to spend in hoop skirts. The free hand that equips Winter Garden shows did the pouring when money was put in to "The Star Gazer." In the tea scene of the second act, for instance, real sugar was used.

John T. Murray, the star gazer, didn't over-play, in spite of a temptation. And the really lively role of the show was that of John Harwood. He was the green grocer last year in "Getting Married," and the shift from Shavianism to Shubertism did not curb his artfulness. If the librettist, Cosmo Hamilton, will work as hard at revision as Harwood did at the premiere, "The Star Gazer" may discover an orbit for itself on Broadway.