The West Virginia Symphony's "Hooray for Hollywood" sounded quite a bit like its "Bravo Broadway" of last month. That's mainly because the conductor, Thomas Conlin, chose the songs from the time when Hollywood was Broadway West.

Saturday night's crowd was smaller, with the balcony barely a third full.

The three youthful soloists - soprano Jan Horvath, tenor Michael Maguire and baritone Doug LaBrecque - were fine singers and enjoyable entertainers. They sang with unflagging energy, and seemed to be having a marvelous time doing it, from the opening "Get Happy" to an encore of "New York, New York".

Horvath was downright enchanting. Her sweet voice turned nimble in Arlen and Blane's "Trolley Song". Maguire tossed in a deft counterpoint.

Maguire's singing of "Over the Rainbow" - which had a fine, uncluttered orchestration - had no overstressed phrases. He sang simply and elegantly.

Arlen and Mercer's "That Old Black Magic" let LaBrecque show off a dark-hued tone, while he snapped out rhythms that jelled tightly with the elaborate Latin percussion.

The Gershwin brothers' "I Got Rhythm" had all three working in close harmony.

Horvath and the men took a turn at ballroom dancing in the instrumental break, before breaking hilariously into the moves of the macarena as a transition back to the melody.

Horvath changed to a slinky red metallic dress for her sultry performance of Arlen and Mercer's "Blues in the Night". LaBrecque delivered a delightful "Singing in the Rain" that did not sound like a pale imitation of Gene Kelly.

Henry Mancini's "Le Jazz Hot" was the most intricate number, smart and witty with some Krupaesque torn-torn rides. Amanda McBroom's "The Rose" featured Horvath gently cradling the tune, but included adroitly blended harmonies from Maguire and LaBrecque.

It also had a decent orchestration, amazingly devoid of saccharine and sap.

Conlin got uniformly solid playing from the orchestra with plenty of snarl from the bluesy brasses. Bill Conti's "Rcky" - you remember that scores from the "CHiPs" school of disco film scoring - sounds awfully dated. But it had a snazzy solo break for local guitar whiz, Chuck Biel.