Although just about anything can be the basis for a musical, as Stephen Sondheim has showed, Plutarch must be one of the oddest sources -- especially for a musical comedy.

But it is indeed that Roman historian's account of the Rape of the Sabines, via a parody ("The Sobbin' Women") by Stephen Vincent Benet, that provides the core story for "Seven Brides for Seven Brothers," the sprightly, thoroughly charming musical now enjoying a rare revival at Pittsburgh CLO.

Matt Polk Jacquelyn Piro Donovan portrays Millie in Pittsburgh Civic Light Opera's "Seven Brides for Seven Brothers." Seven Brides for Seven Brothers Where: Pittsburgh CLO at Benedum Center, Downtown. When: Today 1 and 8 p.m.; Fri. 8 p.m.; Sat. 2 and 8 p.m.; Sun. 2 and 7:30 p.m. Tickets: $16.50-$52.50; 412-456-6666.

The sexual politics of the original hardly promise well for a comedy, but as dramatized first in the popular 1954 movie musical and then for the stage in 1982, the story emerges as a thoroughly appealing parable of the civilizing force of love. The beneficiaries are the seven rambunctious Pontipee Brothers in 1850s frontier Oregon, who swoop down on a town to capture them some wives but end up, in true romantic style, as converts to monogamy and domesticity.

It is the conjunction of these seven guys and their seven gals that provides the zest and fun of the musical. And as evidence that the prime motivation is the life force (i.e. sex), "Seven Brides" tells its story most winningly through the hormonal, visceral celebration of dance.

Not that composer Gene de Paul and lyricist Johnny Mercer (with some additional songs by co-librettist Lawrence Kasha and Joel Hirschhorn) haven't provided some pleasant songs, with, most importantly, a lively mix of toe-tapping, sashaying, country-dancing rhythms, robustly realized by the 23 live musicians in the pit.

But it's what those rhythms do to the energetic, attractive bodies on stage that set the audience on fire at Tuesday's opening -- especially in the lengthy Act 1 Church Social sequence that moves from introductions through courtship and male competition to comic mayhem. At the end, the dancers needed a breather and the audience gladly provided it with applause that didn't want to stop.

Credit director/choreographer Sha Newman for bringing this all about, but the immediate, apparent appeal is the thoroughly committed, physically effusive cast. This is dance that runs the gamut from hoedown to ballet, and the six younger brothers and their brides, along with the women's equally dynamic townsmen suitors, go at it with style and personality.

The latter is the key. The brothers are all so neatly personalized, you begin to root for them as individuals, not just color-coded performers. The brides don't get as much individual time, but they create distinct portraits, too. I have several favorites, but once I started naming them, I wouldn't know where to draw the line, so let me pay tribute to all, equally.

Framing and supporting the whole are CLO veterans George Dvorsky and Jacquelyn Piro Donovan as oldest brother Adam and his own sudden bride, Millie. They provide the main vocal riches but contribute largely to the comedy -- Adam with his swaggering charm, Millie with her feisty independence -- and to the dancing, too.

Whatever the claims of the three previous shows in what's turning out to be a strong CLO season, none match "Seven Brides" for that pure fun that comes from winsome performers giving their all.