If you can remember back to 1937 when the first "Pins and Needles" began to tickle the D.A.R. and jab the vanishing Republican, the third edition may seem to lack the former non-professional glow. Now almost an institution, the I.L.G.W.U. boys and girls have outdone themselves, and are almost too good.

Of course, after three years no one expects a crowd of amateurs. But you will be frankly surprised at the smoothness of the production, smoother than most glamour-musicals. The songs are done to a turn. There are no individual stars, but the revue is such a cohesive unit that your attention is kept right to the tick of the moment and you never start praying that the star will take her bow.

The nice thing about the labor stage is the good fun the actors continue to have before the footlights. They haven't become a bit sophisticated or world-weary with their antics. All of which, without pedagogy, proves a near point: that labor has won more friends by laughing at its enemies (and itself in many spots) than by a whole host of pamphlets.

"Pins and Nedles" would still be a collection of union drama-clubbers on a spree without the brilliance of Harold Rome, who wrote the lyrics and music, and Joseph Schrank, the man behind the sketches. A few of the tunes, especially "I've Got the Nerve to Be in Love," are hell-bent for the Hit Parade.

The dyed-in-the-wool musical fan will miss the spark that dirty jokes strike so wonderfully. For sex is at an absolute minimum in this edition. That and Ethel Merman are all it needs to concede to a $4.40 a seat show like "Panama Hattie." L.L.