@ Festival Theatre, Edinburgh, until Sat 21 Feb 2015 (and touring)

In the 1980s the Citizens Theatre in Glasgow rediscovered Venetian playwright and satirist Carlo Goldoni for a new audience. He was an exponent of 18th-century commedia dell’arte and with his sharply drawn characters and finely tuned observations was ripe for revival. Improv, panto and farce all over huge debt to the pioneering Goldoni.

When Richard Bean adapted Goldoni’s One Servant, Two Masters for London’s National Theatre in 2011, Nicholas Hytner directed, comic actor/comedian James Cordon became a star and the play was spectacularly reinvented. It went on to do several national and international tours and now, garlanded with accolades, it’s back. And you have to see it.

Essentially it’s a silly, glorious farce. We are in Brighton in 1963 with a soundtrack of live skiffle: a dated musical mash-up (punk meets George Formby) that defies understanding. The band is called the Craze (the Krays – geddit?).

The story of deceived lovers, mistaken identity and crossed wires is too convoluted to precis here. Suffice to say the less-than-bright Francis Henshall (a wonderfully fresh comic turn full of vigour and intelligence from Gavin Spokes) must satisfy the conflicting demands of his two on-the-run gangster bosses Crabbe (Alicia Davies) and Stubbers (Patrick Warner). The results are side-splitting. There is a uniformly strong cast, though fans of Shaun Williamson will find him a tad underused.

What makes the production, directed with spirited assurance by Adam Penford, such a delight is its clever mix of tricksy wordplay, sight gags and confident playing. With its musical interludes and end-of-the-pier ribaldry it’s like an old seaside postcard come to life. This is broad comedy that crackles with rudeness and mischief, all tied up in a gaudy bow. It works on almost every level from the casting to the ever-changing cartoon-like sets and nicely realised costumes. More than this, the play is full of unexpected comic invention, not least in the writing. ‘Love passes from marriage quicker than shit through a small dog’ is a memorable one-liner, while Crabbe announces ‘I need a new shirt! I smell like a doctor’s finger!’

There are telling references to a mysterious future. Pauline Clench (fully realised by Jasmyn Banks who avoids the actor’s trap inherent in busty barmaid roles) foresees a time 20 years on – in 1983 – when there will be a female Prime Minister who will be caring and humane.

Throughout, the fourth wall is broken with devastatingly hilarious results. Health warning: wear your surgical corset to prevent aching sides.