George Abbott swiped it from Shakespeare, Shakespeare swiped it from Plautus, and Plautus swiped it from somebody else; we will take Mr. Abbott's version any day, but it is probable that Mr. Shakespeare spent a restless evening last night.

"The Boys from Syracuse" is a gay and tuneful production, and though the plot, as in Plautus' time, is somewhat innocuous, Richard Rodgers and Lorenz Hart have poured so much of the soul of modern melody into the show that their position as the foremost song writing team of musical comedy cannot be questioned; "Falling in Love," "Shortest Day in the Year," and especially "This Can't Be Love" are three of the best tunes to have appeared in many months, and the cast renders them to perfection.

It is the work of Mr. Hart and Mr. Rodgers, then, that will make this heretical edition of "The Comedy of Errors" a hit, but George Balanchine has again endowed a chorus with that inimitable touch of his, and Jo Mielziner has designed sets that are as magnificent as they are fascinating. Some of Irene Sharaff's costumes are superb and some of them are the most atrociously ugly harnesses that ever sprang from a designer's pen.

Robert Graham is excellent as Antipholus of Ephesus, but he still carries many of the pixilated mannerisms of his performance in "Brother Rat" along with him; Eddie Albert, the twin brother, is adequate and best when singing; Teddy Hart and Jimmy Save pall occasionally, but theirs is the hardest assignment, and that they are less of an anathema than they are is a minor triumph. Top honors in the cast must go to the female sex; Wynn Murray, as Luce, is grand both in her songs and in her interpretation of comedy; Mary Wescott, as Luciana, is likeable though her voice is a bit thin compared to the others; supreme in looks and in singing is Muriel Angelus, as Adriana. Too much cannot be said in her praise, for her appearance is a delight to the eyes and her voice a treat to the ears. Betty Bruce, however, as the Courtezan, runs Miss Angelus a close second; her dancing gives a life to the show whenever she performs, and she has a demoniacal expression and movement which, to say the least, is disconcerting.

Mr. Balanchine has again shown a nice discretion in his adaptation of the ballet to musical comedy; at one point he combines a tap and a ballet to create an extremely pleasing and original number. His "tape-worm" finale to the first act was something of a disappointment, but it looked as if the ensemble and started on the wrong beat; another number entitled "Big Brother" just plan dies--the full chorus is on stage, but nothing happens, and a little boy is expected to carry the pens, and a little boy is expected to carry the number on adolescent cuteness.

Mr. Abbott produced, directed, and adapted the show; any fear the he runs backstage to let down the curtain may be banished, since "The Boys from Syracuse" will have a prosperous life. V. F. Jr.