Hardly another "Oklahoma!", "Sing Out, Sweet Land!" is a handsome, spirited, and highly appealing production in its own right. Walter Kerr's idea is a winning one and two acts of second-rate script writing cannot overshadow the warm American tone.

"Sing Out" would have little to offer without its musical substance. It is, in fact, nothing more than a song cavalcade of the United States. Alfred Drake portrays Barnaby Goodchild, a legendary rake who keeps American singing for 300 years, and not entirely free from interference. Before the play is over, Puritan ministers, Civil War top sergeants, Gay Nineties park policemen, and navy lieutenant commanders are doing their best to stop Barnaby from spreading musical mirth as he romps through America's history.

Elie Siegmeister has arranged a brilliant score from the best and most genuine of our folk and popular music. Mr. Seigmeister had the vast wealth of our nation's tune treasure to draw upon, and the result is a successful, striking partnership with the color and verve of Doris Humphrey's choreography.

"Sing Out" seemingly would have all the ingredients of the "Oklahoma!" it is quite obviously attempting to surpass, but when you get right down to it, they just aren't there. The fact that the music does not have basic creative ingenuity somehow prevents you from carrying its spirit beyond the theatre.

Judging "Sing Out" on its own individual merits, however, and allowing "Oklahoma!" to go its perpetual way, there are some good words to be said. The staging and costumes are not lavish, but they have the far more to be desired beauty of gay simplicity. There is sufficient sparkle and dash to make you forget the mediocre script, and make you remember that you are living in a vigorous land with a heritage of vitality.