In an ambitious program of six plays running through the fall, the Theatre of the Fifteen is bringing to Boston "phases of the American scene" from Broadway jazz alligators to Hollywood glamour-boys. The No. 1 motif, which is Martha Pittenger's "A Man From The Band," concentrates on the Eastern seaboard, and, in particular, on a toney New York apartment where American-Rich-Girl-Number-Four marries a piano player and tries to reconcile the age-old differences between their opposing ways of life.

The conclusion is that it can be done. After three weeks of trying to make Ernie Craig eat eggs instead of gulping gin and of avoiding his friends from the band, Louise Channing still believes that love can overcome all obstacles. Even her prim Back Bay aunt is suddenly converted and sees no reason why Ernie's friends shouldn't be hers too. Unfortunately, the audience isn't so easily satisfied.

In sports "A Man From The Band" can be decidedly convincing. Most of the first act, in which Ernie the drummer boy woos and wins Miss Channing in half an hour after she had been dropped by her socialite lover, is a very careful and tender piece of writing. But too much of the play is inexcusably tedious and full of long speeches like Ernie's final plea for "la vic jazz" which in almost a twinkling convinces his wife that he ain't a bad guy after all.

The brightest spot in the play is Larry Sothern, who as Ernie Craig, puts over the very delicate shadings that make his part a rich one. Barbara Parmley, as the girl from the band, has a pleasing spontaneity, but unfortunately, the more socialite characters of the play, perhaps trying over-hard to make their parts life-like, tend to be stuffy.

As it stands now there is much gold and much dross in "A Man From The Band." Certainly enough gold to make the Theatre of the Fifteen look homeward towards Broadway. But it will take a good bit of rewriting, especially in the third act, to reach it.