No "messages" here, folks. Just lots of music.

Gershwin music.If someone tries to tell you they've heard taps being played for old-fashioned musicals, maybe they'd better see "Crazy for You."

The only taps here are the ones on the bottoms of nearly two dozen shoes. The shoes, of course, are attached to some very talented (and fast-moving) feet - half of them at the ends of gorgeous Broadway show-girls' legs, the other half to a bunch of cowboys ("singing cadavers," according to saloon owner Lank Hawkins).

As long as you're not worrying about a "message," don't fret, either, about a dramatic plot.

Actually, "Crazy for You" is pure fantasy . . . and fluff. It must be a fantasy, because all those showgirls arrive in Deadrock, Nev., toting tiny suitcases. How they get all their costumes, etc., in those itty-bitty suitcases is anybody's guess.

Suitcases aside, the Lees Main Stage is jammed with talent. When you have a show with 20-plus Gershwin tunes, you'd better back it up with talent.

And, boy, does PTC come through.

Guest artists Stacey Todd Holt and Nancy Anderson are terrific as young lovers Bobby and Polly - and so are Robert Peterson as slightly villainous Lank Hawkins, Richard Mathews as Everett, Polly's dad; Max Robinson as Ziegfeldian producer/dancer Bela Zangler; Jessica Frankel as gold-digger Irene Roth; Margaret Crowell as Lottie, Bobby's all-business mother; and Anne Stewart Mark and Chris Mixon as fledgling guidebook writers Patricia and Eugene Fodor.

George Maxwell's scenery is, as usual, amazing - an intricately choreographed system of backdrops and wagons that take the audience from the bright lights of Broadway to the colorful desert town of Deadrock (John Wayne, John Ford and maybe even Zane Gray would feel right at home).

James Prigmore's 12-piece pit orchestra, David Kay Mickelsen's costumes, Jeff Hill's lighting, James C. Swonger's sound, Cynthia L. McCourt's hair styles and David L. Boushey's nicely staged fight sequences were all flawless.

From the mirror-image Belas and their hilarious vaudeville routine and Jessica Frankel's steamy "Naughty Baby" to such toe-tapping treasures as "I Can't Be Bothered Now," "Someone to Watch Over Me," "They Can't Take That Away from Me," "Nice Work If You Can Get It" and the show-stopping "I Got Rhythm," this show will have you humming (and maybe even dancing) out of the theater.

But be forewarned: I wouldn't be "Bidin' My Time" waiting to get tickets. When word-of-mouth spreads about how entertaining this production is, tickets may be harder to come by than a cold sarsaparilla in Deadrock.