Original Off-Broadway Cast, 1961 (Mercury/Stage Door) (2 / 5) With its lithe but insubstantial score, preserved nearly complete on the cast album, All In Love turned Richard Brinsley Sheridan’s classic farce The Rivals into a jaunty musical comedy. Featuring music by Jacques Urbont and lyrics by Bruce Geller, the show ran Off-Broadway briefly in 1961, though the album cover misleadingly declares that it was a “Broadway Hit Show.” The plot: Wealthy Captain Jack Absolute (David Atkinson) must disguise himself in pursuing Lydia Languish (Gaylea Byrne) because she desperately wants to marry a poor man. (“He can’t be all bad if he’s good and poor,” she sings in the opening number.) Urbont’s melodies are solidly good-natured but unmemorable throughout; the best of them include Atkinson’s ballad “I Love A Fool” (in which Jack praises Lydia’s “refined imbecility”) and the chipper “I Found Him,” sung by Christina Gillespie as the enamored servant Lucy. The composer ventures towards harmonic ambition only in “Why Wives?,” a vocally intricate but thematically dubious ensemble piece in which the men air their frustrations with monogamy. Geller’s lyrics could be wittier, but his love songs aren’t bad. For example, at one point Lucy exclaims: “I want everyone to know/That, just a miracle ago, I found him.” Lee Cass stands out among the singers, showing off his exquisite bass timbre in “The Lady Was Made To Be Loved.” The Rivals is now probably best known for introducing the character Mrs. Malaprop, Lydia’s twisty-tongued aunt; Mimi Randolph in that role delivers an appropriately silly number, “A More Than Ordinary Glorious Vocabulary,” in which she drops such jumbled wisdom as “Men are never contraceptive to a well-turned phrase.”  All in Love is notable for the involvement of actor Dom DeLuise, who appeared in this show three years before his film debut, and orchestrator Jonathan Tunick. DeLuise’s only major moment on the album comes when he leads “Odds,” a goofy, disposable novelty number about cursing. But Tunick’s work glows throughout, emulating the best of his Golden Age forebears in using a large orchestral palette while en route to his game-changing collaborations with Burt Bacharach and Stephen Sondheim — Dan Rubins