NOT everything is as wunderbar at the hit revival of “Kiss Me, Kate” as director Michael Blakemore would like.

Production sources say Blakemore — one of the Broadway’s most respected and influential directors — has long been unhappy with the show’s advertising campaign, which has been changed four times since “Kiss Me, Kate” opened last November, and, the director thinks, is still not up to snuff.

Blakemore’s frustration reached a fever pitch on Wednesday at what several sources described as a “tense” meeting with the show’s producers, publicists and advertising staff.

The director, sources say, made an “impassioned” plea, urging that the ads be redesigned yet again so that they capture the joy and the energy that are the hallmarks of his critically acclaimed revival.

“The ads have been bland and ugly, and they have no point of view,” said a production source. “It’s upset Michael, but his complaints have fallen on deaf ears.”

Because Broadway is bursting with so many musicals these days, creating a recognizable logo for a show is considered essential to its long-term success.

The Phantom mask for “The Phantom of the Opera,” the sexy chorus girls in black tights for “Chicago,” and the creepy Emcee peeking out from behind a door for “Cabaret” are attention-grabbing ads that have helped establish each of those shows in the public’s mind.

But “Kiss Me, Kate” has never had any kind of defining image.

Its first round of ads featured stars Marin Mazzie and Brian Stokes Mitchell in boxing gloves, punching each other out.

When that image was greeted with catcalls in Shubert Alley, the boxing gloves were dropped, and the ads simply said “Kiss Me, Kate” in block letters.

Next came thunderingly dull ads with pictures of sheet music for some of Cole Porter’s famous songs — “Wunderbar,” “Too Darn Hot” and “So in Love.”

The current campaign features photos of different performers in the show.

“The problem with this one is that the actors aren’t known to the public,” complained a person involved with the show. “If we had Bebe Neuwirth or Carol Burnett, fine, put them in the ads. But we don’t.”

Roger Berlind, the producer of “Kiss Me, Kate,” yesterday said he had no plans to change the ads. He said he has taken Blakemore’s complaints into account, but added: “This is not a subject I can discuss.”

Executives at Serino Coyne, the ad agency that designed the campaign, did not return a call seeking comment.

Blakemore was in rehearsals for “Copenhagen” yesterday and could not be reached for comment.

Meryl Streep is in negotiations to star in Chekhov’s “The Seagull” for the Public Theater this summer in Central Park, Playbill On-line reported yesterday. Kevin Kline and Natalie Portman are also being wooed for the production, which will be directed by Mike Nichols.

Asides: Be sure to check out Craig Rubano’s hit cabaret show — “Finishing the Act: Act One Finales from Broadway” — at the Westbank Cafe on West 42nd Street, now through March 20 on Saturday, Sunday and Monday nights … “The Wild Party” — Andrew Lippa’s new musical at the Manhattan Theater Club — has been extended until April 9 … Due to lack of a suitable theater, it looks like Charles Busch’s sold-out comedy “The Tale of the Allergist’s Wife,” also at the Manhattan Theater Club, will not move to Broadway until the fall.