Sandwiched between a tragic masterpiece by Eugene O'Neill and a drama about a famous opera diva ("Master Class," opening next month) is "A Musical Tribute to Richard Rodgers," Oyster Mill Playhouse's tribute to the icon of musical theater.

This is popular theater with class.  A group of talented young and not-so-young performers (the diversity is welcome) sing their hearts out with humor and charm, a fine summertime entertainment.

The shows and songs Rodgers created, particularly with Lorenz Hart and later Oscar Hammerstein II, are classics. And from ballads of hope such as "You'll Never Walk Alone" to "I'm through-with-love" songs such as "I'm Gonna Wash That Man Right Out of My Hair," they also are favorites.

It must have been hard for Lois Heagy, who did the research for the show, to narrow down everything Rodgers wrote to come up with a workable revue.  As it is, the show is probably half an hour too long.

But there are many high points, including "There is Nothing Like A Dame," "Bewitched, Bothered & Bewildered," with Terrie Black; "To Keep My Love Alive" with Rebecca Mease (and audience participation); and "I Wish I Were In Love Again" with Kathy Jo Wilson, Rebecca Mease and Teresa Heagy.  Brian Macafee's rendition of "I Have Dreamed" was moving.

It's difficult to single out individuals, though.  "A Musical Tribute" is an ensemble piece, in which the choral numbers are particularly strong, including a medley from "The Sound of Music."

Bill Turner, who also sings, is musical director, with Lois Heagy assisting.  Art Thompson and Tim Ballick lend their talented accompaniment on piano and percussion.

There's text, of course, tying together the songs, and these yield some interesting tidbits.  Rodgers' older brother, Morton, for example, used to beat him up after their piano lessons because he was jealous over the difference in their talents.  But Morton more than made up for it years later by introducing Richard to Hart and Hammerstein, who were his classmates at Columbia University.

You also learn that Rodgers wanted Hart to work with him on "Oklahoma."  But the more acerbic lyricist didn't think he wanted to write songs about cowboys, so Rodgers turned to a man he had never worked with before, Hammerstein.

A tighter text might hold audience interest better.  Still, there's all that glorious music.