Such fascinating novelties in the score as the fugual treatment of ``On the Side of the Angels'' and ``Politics and Poker'' were handled splendidly, and I thought Rudy Bond and his band of tuneful ward-heelers made ``Little Tin Box'' even better than it was done by the New York cast; all the words of its clever lyrics came through with perfect clarity.

The party at Floyd's penthouse gave the ``chorines'' a chance for a nostalgic frolic through all those hackneyed routines which have become a classic choreographic statement of the era's nonsense.

LaGuardia's multi lingual rallies, when he is running for Congress, are well staged, and wind up in a wild Jewish folk-dance that is really great musical theater.

Martin Tahse has established quite a reputation for himself as a successful stager of touring productions. Not a corner has been visibly cut in this one. The sets are remarkably elaborate for a road-show that doesn't pause long in any one place, and they are devised so that they shift with a minimum of interruption or obtrusiveness. (Several times recently I have wondered whether shows were being staged for the sake of the script or just to entertain the audience with the spectacle of scenery being shifted right in front of their eyes. I'm glad to say there's none of that distraction in this ``Fiorello!'' )

It has all been done in superb style, and the result is a show which deserves the support of every person hereabouts who enjoys good musical theater.