Although Clifford Odets's "Night Music" echoes with protest, this time neither capitalist system nor class is the object of attack. Odets has taken in a far larger scope; his newest play concerns the struggle of the individual with a world that is constantly oppressive. Exuberant and brash, it criticizes the contemporary "wasteland" and glorifies a life in which human nature runs free. For Odets the answer lies in youth with its comic overtones and serious ideals. It is a play tempered with bitterness but full of hope.

With a cast that is almost perfect down to the last minor role, "Night Music" is a tribute to the abilities of the Group Theatre. In his characterizations, Odets is superb; in his final effect, jumbled and incoherent. As the wild and self-conscious Greek-American boy, Elia Kazan is one of the most fascinating personalities of the last few years. It is a part full of fight and bluster, and when the external shell comes off, insecurity, loneliness and an appealing love of humanity that cannot be hid. His barbaric naturalness wins the gentle Philadelphia girl who has run away from the sterility of her home. To what is the most difficult part of the play Jane Wyatt gives simplicity and feeling. Her emotional harmony with Kazan is well-handled and grows convincingly from act to act. As the paternal detective with all his natural goodness, Morris Carnovsky could not be better. It is hard to single out any of the supporting cast for more praise than the others. Each of Odets's "scenes within-a-scene," like the drunk walking his dog in the park, bring out brilliant little characters. Roman Bohnen as the broken-down hotel clerk, Phil Loeb as the detective's brother-in-law, and Sandford Mesinger as the Hollywood magnate stand out particularly.

"Night Music" is flecked with incoherence. At many points the story swerves from its destination. Although adding to the play's richness, its many tangents cloud the final effect. But with some revision and plenty of cutting, Odets should be able to give fullest effect to his dialogue and to some of the individual scenes which are master-pieces in themselves. Despite his occasional bitterness, Odets is more hopeful than ever. "Night Music" is almost a paen of faith. By the time it reaches Broadway it cannot fail to ring true.