STAGE REVIEWS : ‘AM’ SOUNDS BETTER AFTER FINE-TUNING

“Don’t make me over,” sings one of the dippy teenagers in “AM,” which has been at the Backlot Cabaret since August. Anita Mann ignored such talk and recently gave “AM” a major overhaul. It’s now a much better show.

Director Mann, who’s also the new producer, wisely discarded the old version’s subtitle, “The Pre-Invasion Rock Musical,” which referred to the era just before the Beatles, and substituted “A Blast From the Past.” Also gone is the use of a Top 40 countdown, from 1963, as a framing device.

The new framework--which involves a “secret word” duck, borrowed from Groucho Marx--is rather unwieldy. But at least it allowed Mann to choose songs from a wider chunk of rock history. The score is more varied and more oriented toward a theatrical presentation, and Mann has eliminated the musicological mess that was created when the former producers ignored their own concept in search of more variety.

At least a dozen songs were cut, replaced by other golden oldies that add melodic interest (“Goin’ Out of My Head,” smoothly sung by Donna E. Miller) or choreographic opportunities (Mann’s dances are much zippier now) or narrative support (“Chapel of Love”).

A new writer, Tom Perew, has strengthened the teen romance story and tightened its connection to the songs, adding a few funny lines of dialogue in the process. And Mann’s staging no longer takes all the songs at face value, instead using some of them as commentary on the “AM” plot.

For example, in “Hey, Paula,” the singer’s moves clearly indicate that something is on his mind besides marriage, despite what the lyrics say. And “Stop! In the Name of Love!” is no longer an impersonation of the Supremes but rather a scene in which three teen-agers impersonate the Supremes--and carry on their own little feud as they sing, ironically reminding us that the Supremes had their own intramural squabbles.

Supported by the improved script, the performers create more vivid characterizations--a fact that’s reflected in the program, where the names of the characters have replaced the names of the actors in the song credits. Marilyn Kaye thrives more than anyone else in the new regime; her gum-chewing has been transformed from a piece of scenery into an authentic joke.

One cast member is new: Phil Volk, who was an original member of Paul Revere and the Raiders. Though no one will mistake him for a teen-ager, his goofy countenance looks appropriately juvenile, and he’s more physically comfortable with the material than was his predecessor.

No one should approach “AM” with inflated expectations; anyone who saw “The Wonder Years,” for example, may well be disappointed. Although the script is no longer emaciated, it’s still very thin. But the show does offer a spirited good time--and with no intermission, the time now passes more quickly.

Performances run indefinitely at 657 N. Robertson Blvd., West Hollywood, Tuesdays through Sundays at 8 p.m., with additional 9:30 shows on Friday and Saturday nights; (213) 659-1559.