Tommy Tune and the Manhattan Rhythm Kings: Everything  Old Is New Again (John Harms Center for the Arts; Englewood, N.J., 1,300 seats; $50)  Musical director, Michael Biagi. Reviewed Dec. 15, 2001.   Manhattan Rhythm Kings: Brian Nalepka, Hal Shane, Marc Kessler.

By ROBERT L. DANIELS

Following a long stint at the MGM Grand in Las Vegas, Tommy Tune is on the road again for an extended tour that will take him from Florida to California. "The last genuine song-and-dance man" and nine-time Tony Award winner confessed to having been born too late, favoring the adoring audience with tunes by the Gershwins', Irving Berlin and Cole Porter, prompting the show's title, "Everything Old Is New Again." In a little over an hour the tall, elegant hoofer -- he's 6 feet 6 inches -- strutted, kicked and tapped with a polished air of grace, verve and style. He makes it look oh-so-easy and clearly loves what he's doing. Resplendently classy in white tie and tails, the lanky Texan sailed through his openers, singing "Let's Do It," "Let's Fall in Love" and "Let's Face the Music and Dance." At age 61, the seemingly ageless Tune sings with a firm, light baritone and finds the right moment to belt. There were several obvious nods to his hero, Fred Astaire, with "The Afterbeat," "(I'm Dancing and) I Can't Be Bothered Now" and "Puttin' on the Ritz."

Hal Shane and Marc Kessler, the two dancing members of the versatile Manhattan Rhythm Kings, joined with Tune for some slick precision routines. In an amusing bit of film noir, Tune and his colleagues took "Shanghai Lil" into a mini narrative song-and-dance routine. (Think Astaire's "Girl Hunt Ballet" from "The Bandwagon.") And, would you believe, a hokey and very funny down-home turn with the old Arthur Godfrey novelty "I'm My Own Grandpa?"

The Rhythm Kings -- the third part of the trio being the droll bassist, Brian Nalepka -- gave Tune a breather with a specialty medley of "Alexander's Ragtime Band," "Has Anybody Seen My Gal?" and "Bye Bye Blues." With banjo, accordion and even a kazoo on hand, the trio turned archaic Tin Pan Alley tunes into big audience pleasers. Tune returned and joined the group for another old vaudeville turn, "Sam, the Accordion Man."

In a brief Q&A spot, Tune hinted at a possible reunion with Twiggy, with whom he starred in the 1983 tuner "My One and Only." "I spoke to her on the phone this morning from London," the dancer revealed, "and we have a little idea in the works."

The 11-piece orch provided crisp soaring accompaniment. The overture even included "It's Not Where You Start (It's Where You Finish)," the Cy Coleman-Dorothy Fields show-stopper performed by Tune in the 1973 "Seesaw," for which he won his first Tony. One might hope the song would be saved for the big finale, but no such luck. For closers, there was Porter's melancholy farewell, "Ev'rytime We Say Goodbye," and "Nowadays," the stylish Kander-Ebb top-hat turn from "Chicago." The latter seemed to sum up the evening: "Grand, isn't it?"