"Ad Man Out," the Hasty Pudding's 106th production, is not going to need very much advertising of its own to pack the Pudding Playhouse from now until it goes on tour. It already bas an extremely clever book by John Benedict and Tom Whedon, funny, often hilarious lyrics by Bob Schwartz and Fred Tausend, Charles Gross' skillful musical score, precision dancing--all set off by a talented, well-trained east. What is more, the various parts jell; the singing, the shuffling, the wiggling, and the acting are all woven together into one solid, colorful production.

It is difficult to single one person out of this first-rate cast, but if anyone deserves an especial credit, it is Bob Schwarz, who, besides contributing to the lyrics, played Maximilian Feek, the adman himself, with gusto, humor, and even subtlety when it was needed. Juggling the whims of ball-bearing manufacturer S.J. (does in dry dead-pan by Walter Littell) with the extra-curricular passions of Electra, his brassy mistress, played by Hugh Fortmiller, Feek is ulcered into finding a new advertising glmmick to sell ball-bearings. With the help of vice-presidents Arbuthuot, Moriarity, and Carmichel (Ed Bursk, Stove Bolster, Tim Nichols), and a slogan-grinder-turned-playwright named Nadworney (William Allison), Feek finally produces a deus-exmachina legitimate play, plugging the sponsor's product.

From this production, intricately and amusingly created by Dolly Niggemeyer, who kept the show's choreography at a top level all evening, comes the show's biggest stopper, a song called "Terrible, Terrible Crisis," sung by three, played by Samuel Gilflx, Richard Waldron, and George Spelvin, side-step to the praises of sex on the stage. Feek's three assistants, especially Bursk, who continually delighted the audience, also brought encores with an intricate soft-shoe routine in the first act. Further, they contributed heavily to "Judge a Book by Its Cover," a flashy ditty, extolling leg-art on the jackets of classics.

If the other songs are not quite up to this level, most are enjoyable none-the-less. "Ad Man Out" starts quickly with "All That Glitters," a number embellished with the walking pack of cigarettes, the Firestone child with tire, etc. And the pace is generally kept throughout, with the possible exception of an Arthur Godfrey take-off. Here, however, the Pudding cannot be blamed if the Yale Bank stole a march on it.

Perhaps one of the most delightful tings about this production is that the authors really knew how to use boys-playing-girls. Keeping away from pitfalls of other Pudding shows, which have tried to sneak over a demure femme with five o'clock shadow, Benedict and Whedon make all their blondes big, brassy, busty, and boisterous--as they should be in this type of show. The kickline is good, as is an advertiser's beauty contest illuminated by excellent costuming. The one brunette in the cast, Electra's artsy-craftsy sister Chris, played with cross-eyed humor by William Wood, is a suitably bizarre love interest for the playwright. Her great concern with Green which Village Art versus Madison Avenue Commercialism, if a bit overddone, provides some of the best laughs.

After a shaky start on last year's show, Donn Fischer's direction is imaginative and professional. None of the songs seem stuck into an irrelevant plot, and no one fronts and centers to sing them. The show flows from opening to finale. Stark Hesseltine's production is, of course, very good, and the costume committee, headed by Jill Howard, can well share credit for the glossy exterior of the show. Tony Herrey's sets also contributed greatly. They were bright and simple, and the theatre marquee, in particular, showed an intelligent use of the Pudding's limited space.

While there are many chances for group singing and novelty numbers, "Ad Man Out" gives little opportunity for any of its performers to test their voices in songs that require a broad range. In the one real ballad, "As Long As You're in Love," Allison displays a fine natural tenor. The other voices, though not outstanding are more than good enough to put across lyrics which can stand by themselves.

Besides the overlong Godfrey sketch, the only major criticism of "Ad Man Out" is its running of acts one and two together. It would be much more effective to put an intermission right after "Don't You Ever." After this comes the beauty contest and an amusing Mexican-type dance, fine, but less effective because the audience is beginning to get a bit restless.

Otherwise, there may be a few spots that drag or one or two off-key notes, but they are lost in the many show-stoppers and production numbers. "Ad Man Out" is an entertaining musical and a tribute to those who put so much time and talent into it. Audiences will continue to have a good time watching it.