If a full two hour view of bashful, puberty conscious adolescents amuse you, then do not miss the musical comedy adaption of Booth Tarkington's "Seventeen." That is all you will get.

Comedy, however, does not accurately describe this play, for there is nothing really funny about it. As is the case with much American humor, the intended comedy depends solely upon exaggeration. In this particular mishap, a maudlin youth called Willy Baxter goes through the throes of his first love. While Baxter may be hailed as the first American teen-ager, his traumas are highly contrived and distorted. He behaves in a mawkish manner that is neither amusing nor credible.

Hassard Short, who is guilty of directing the play, has apparently decided that Willy's role is an inconsishe seems a veritable folk hero. In the finale the silly tent one. At times the young Baxter appears thoroughly ludicrous, but often, as when he sings love ballads, Willy--and that is just what he is most of the time--imagines marriage with his true puppy love, a vision enacted in full regalia. Bride, groom, and a score of bridesmaids attired in pink march under the spotlights to the front of the stage.

Mr. Short, who also designed the settings, has given most scenes an appropriate background. Practically every set resembles a picture on a diary calender.

True, there is a good time in the show, Reciprocity." The other songs are not offensive, but are the kind one never can remember. The cast is unknown, competent, and apparently willing to go through with this travesty.