Two on the Aisle opened in Philadelphia on June 20, 1951, and in New York a few weeks later. It was immediately evident that here was a show in the best tradition, a revue which was alternately satirical and slap-stick, handsome and hilarious, teasing and tuneful. The aggregation of talent was not only impressive but effective. The sketches and lyrics were furnished by Betty Comden and Adolph Green, two highly literate young people who had collaborated since their early days as 'The Revuers' (co-partnered with Judy Holliday) and who, among other successes, were responsible for the spectacular 'On The Town'. The music was by Jule Styne, composer of various scores for films and ballets, popular hit tunes, and the score for 'Gentlemen Prefer Blondes'. The production was directed by the versatile Abe Burrows, and a glittering cast included the comedian Bert Lahr, the singer-actress Dolores Gray, and the dancer Colette Marchand. Everyone agreed that the combination had produced something to sing about.
   The singing was on an unusually high level. It was lifted and sustained by Dolores Gray, a tall blonde who, previously little known in America, had been sensationally popular in England. Critics agreed that she had style, personality, and amazing vitality. Now that she is back in America," wrote Brooks Atkinson in the New York Times, "the State Department should refuse her any more visas." She was compared to Ethel Merman both as a comedienne and chanteuse. Her voice captivated every hearer with its extraordinary range of inflections, shifts of mood, and variety of nuances. Even her gestures were eloquent. Bert Lahr's part in the activities was no less relished. Once more he was the unique Bert Lahr, impersonating an old baseball star who manages to upset a radio program, an amorous Captain Universe holding a space brigade on the planet Venus, a clown mimicking Queen Victoria, a wistful park-paper-picker-upper in danger of being demoted to the dump, and a seltzer-squirting Siegfried in an interpretation of Wagner in the manner of Billy Rose, complete with long-stemmed undraped Rhine maidens and uninhibited acrobats. The two principals really rocked the audiences with their exhibit of the Eternal Triangle in (1) the manner of old-time burlesque, (2) the cryptic style of T.S. Eliot and (3) the rowdy bedroom mood and music of Cole Porter.
   The pace of 'Two on the Aisle' was enlivened by the gayety of the music. Every number had an instant response. Particularly memorable were "There Never Was a Baby Like My Baby," "Give a Little-Get a Little," "If You Hadn't But You Did," "Hold Me, Hold Me, Hold Me (Hold Me Tight)" and "Everlasting." Here, in short, was everything that everyone could expect of a musical revue. "A 4-orchid show!" exclaimed Walter Winchell.