THEATER REVIEWS : ‘Starting Here’ Finally Starting Now, Variably : The 1977 Richard Maltby Jr. / David Shire revue gets its first L.A. professional productions from East West Players and West End Playhouse.

“Starting Here, Starting Now” is not exactly starting here--or now.

It opened in New York in 1977, and many of its songs date back to the ‘60s. More recently it has played in Orange County and San Diego. Yet apparently there has never been a professional production in Los Angeles--until now, when we have two productions, which opened one day apart.

This doesn’t mean that the show is suddenly topical. Most of the songs in it are bright-eyed and bushy-tailed reflections on young love or young spirits. At times, the excitement and enthusiasm expressed in the lyrics by Richard Maltby Jr. sound a little naive, especially if juxtaposed with reports of the anomie of “Generation X” and the disillusionments of its older siblings.

But it’s also revivifying to hear sentiments like these, particularly when they’re sung to the infectious tunes of David Shire. Furthermore, a few of the songs in the score (most notably “I Don’t Remember Christmas”) trade in more complicated emotions, such as those expressed in the Maltby/Shire duo’s later “Closer Than Ever.” So for fans of the Maltby/Shire repertoire, “Starting Here, Starting Now” is fairly irresistible.

Too bad that neither of these productions is completely irresistible. But the stronger of the two is at East West Players.

East West director Glen Chin interprets the songs with flair. With the addition of a single spoken punch line, the always funny “We Can Talk to Each Other” becomes more of a little scene-- and even funnier. “Just Across the River” has been playfully choreographed to reflect the disco poses of the late ‘70s.

In “I Don’t Believe It,” a cynical look at three supposedly happy couples, a woman’s observations in pidgin amused the heavily Asian-American audience on opening night. The song “Girl of the Minute” is more complete than it is in the other production at the West End Playhouse, and it’s illustrated with a clever bit of non-intrusive audience participation.

The East West cast look as young as the sentiments they’re singing, and they move with relaxed grace. John Sala is especially suave and likable. While the two women, Sissy and Marlene Mitsuko Yamane, have pretty voices, they lack the appropriate vocal power and authority at a few key moments. Musical director Orville Mendoza is the accompanist.

The East West set--elegant chairs on overlapping blond wood platforms, backed by a filmy white curtain--is borrowed from another production but serves this one well, as does the evocative lighting. It’s much more attractive than the West End’s black, scuffed, harshly lit stage, with its chintzy, too-reflective backdrop.

West End director Pamela Hall erred in casting herself. She seemed jittery and mannered on opening night, and apparently there was no impartial eye to rein her in. Hall and Lloyd Pedersen look too mature to sing some of these lyrics with a straight face--a problem compounded by Pedersen’s character-actor features. But the third member of the trio, Wyn Wilson, is more at home.

Consolation prize: The program notes are far more informative at the West End than at East West.

* “Starting Here, Starting Now,” East West Players, 4424 Santa Monica Blvd., Los Angeles. Mondays-Wednesdays, 8 p.m. Ends Dec. 1 . $10. (213) 660-0366. Running time: 1 hour, 45 minutes.

* “Starting Here, Starting Now,” West End Playhouse, 7446 Van Nuys Blvd., Van Nuys. Saturdays, 9 p.m.; Sundays, 7 p.m. Indefinitely. $17.50-$19.50. (818) 904-0444. Running time: 1 hour, 30 minutes.