For my money,the best of all the post G & S operettas.
I would rank OF THEE I SING and GIRL CRAZY up alongside them :-)) They both continue the tradition of a patter-song charlatan 'hero' who manages to get away with it :-) The early Marx Bros musicals picked up this format - but Groucho's singing was too haphazard to carry it off, and they quickly dropped the 'musical' format.
Along with Kurt Weill's A TOUCH OF VENUS. (For anyone who only associates Weill with banjo-driven political extremism, the show-stopping aria 'West Wind' is the stand-out lyrical barnstomer from that score :-) By that era, a tradition had developed that the Leading Lady would be a comedy soubrette - and the 'serious' musical material was handed to the Second Lady (normally someone with a trained, operatic voice, who could carry a big melody).