Ask the unhappy denizens of Michael John LaChiusa' musical Hello Again, being given a boldly staged but only intermittently successful revival by the Transport Group, about the importance of location, location, location. Many of them are frantically searching through city streets and doomed ocean liners for places to meet their latest carnal hookups. And all of them seem to know, at some level, that somewhere out there is their one true love, but that none of them are in the right place.

Artistic director Jack Cummings III has converted a large industrial loft at 52 Mercer Street into a cabaret-like setting where LaChiusa's roundelay of couples (who are inspired by the characters of Arthur Schnitzler's 1900 play La Ronde) wind their way through the 20th Century.

Different scenes play out on little stages throughout the space, with the actors weaving in and out of the audience seating areas. As some of those stages double as audience tables, and since some of the scenes performed there include some of the more blatantly sexual displays in the show, be warned that this is not theater for the easily embarrassed.

All of the cast -- which includes such notable Broadway performers as Alan Campbell and Bob Stillman -- balance well with Mary-Mitchell Campbell's unobtrusive yet catchy orchestrations, although not always with each other. Max Von Essen's clear tenor is particularly well-suited for the role of a young, lusty soldier, and Robert Lenzi and Eliabeth Stanley, as a rich, spoiled college boy and his voluptuous nurse, create considerable sparks during their encounter. In many of the other scenes, though, one is left wondering what all the fuss is about.

It's not about love, of course. Neither Schnitzler nor LaChiusa's story puts much premium on that. In the score's most achingly beautiful song, "The One I Love," two men in disco-era New York (Jonathan Hammond and Blake Daniel, whose voices blend gorgeously) seem to be on the verge of finding true romance. "The one I love touches me and I float," they sing. But you soon realize that they're singing past each other.

For the people in Hello Again, it's not the finding that drives them, it's the passionate searching that temporarily fires up their encounters. Without that fire, one just has an array of melodious misery.