"Life is a banquet," says Auntie Mame, "and most poor [s.o.b.'s] are starving to death." Rather than risk that, she meets life with gusto galore.

That's the Mame we love -- unconventional, daring, brassy and bold, with a great big heart. And in many ways, Pittsburgh CLO's "Mame," the 1966 Jerry Herman musical comedy based on the 1955 Patrick Dennis novel and 1966 play by Lawrence and Lee, captures that swagger and sentiment.

But it also falls short of true Mame-like size and sizzle, specifically where it needs it most, in its star. Michele Lee, of "Knots Landing" fame but with good stage credits on Broadway and elsewhere, has vigor, brass, vocal gusto and plenty of heart. She's at her best when Mame's emotions turn toward nostalgia or loss.

But she's oddly static, even stiff. Maybe that's because, as of Tuesday's opening, she seemed shaky in her lines and tentative physically, without the florid ease that should be Mame's birthright.

Maybe that's already been fixed. Not everybody can handle the CLO's breakneck one-week rehearsal schedule, especially given a dominating star turn like Mame. Perhaps Lee has settled in by now and can unleash the considerable, earthy charm that would seem to make her a natural in the role.

Since "Mame" isn't frequently revived, we get to be surprised by Herman's score, which has more memorable songs than you might remember, mainly because they aren't so memorable beyond the story as within it, which is where it counts. "Open a New Window," "We Need a Little Christmas" and, of course, "Mame" are standouts. And has anyone noted how much bounce Tom Helm has conducting the honest-to-god live CLO orchestra? It's a show in itself, if you're close enough to see.

The basic set (rented, I assume) uses garish art deco skyscrapers to suggest New York, lighting and backing them varyingly -- most impressively with a giant mural of 1930s nudes, a la Radio City. But occasionally the set changes, like the star, were tentative, with something arriving a tad early and something else, a bit late.

Ruth Williamson's bitchy, soused Vera could almost be a drag act, she employs such a coal mine-deep voice. "Bosom Buddies," her duet with Mame, with its infectious rhythm and knowing lyrics ("I'll always be Alice Toklas / if you'll be Gertrude Stein"), is a high point.

Young Danny Cinsky is the hit of the show as young Patrick, age 10 -- unaffected, precise, with a clear voice in speech and song. Pittsburgh favorite Donna Lynn Champlin is thoroughly at home as the awkward Gooch, and she stirs our sympathy, too, as does Orville Mendoza's Ito. The capable Mary Stout tellingly plays a variety of comic gorgons, extracting our laughter with deadpan pauses.

Although potentially caricatures, they transcend them. Unfortunately, Patrick's intended bride is played with the broadest caricature, making Mame's climactic victory over her too easy. My other complaint is that the evening is longer than the material deserves, nearly three hours -- though I think repetition will speed that up.

This is the best chance we've yet had to see this year's CLO ensemble -- always one of summer's chief attractions if you like appealing, talented, athletic young dancers and singers who can also act -- and they are shown off to advantage by director Richard Sabellico and choreographer Richard Stafford. As in the classic musical comedy (which "Mame" isn't quite, but it's related), they're given a lot to do, changing roles, costumes and even accents.

At the heart of "Mame" is her life force and her love for young Patrick, recycled (as in "Peter Pan") for each generation. With this, Lee and the production do connect.

First Published: July 10, 2008, 8:00 a.m.