Sandy Wilson’s affectionate musical pastiche of the 1920s is given a most welcome airing – and what an airing.

The theatre may be small but the production’s big. The challenge of fitting exuberant choreography on to a shoebox stage is fully overcome and the lively dancing is a major contribution to the show’s success.

A charming Art Noveau set, complete with a mini-bandstand for the three musicians, is easily adapted for the several locations. Clever inventiveness from director Claire Lewis allows a seamless transition from act one to act two.

The storyline of young love and hidden identities is slight, predictable and exists merely as a framework for a feast of glorious songs and excellent tongue-in-cheek performances throughout.

Martha Perrin captures all the charm and innocence of heroine Polly whilst Patti Griffiths’s Madame Dubonnet almost steals the show with a performance full of subtle nuances and broad comedy.

The comic duet between randy old goat Lord Brockhurst (Gerry Wicks) and Bethany Preston’s Dulcie is delightful. Hannah Clarke as madcap Maisie demonstrates a talent for zaniness, especially with her facial expressions.

This great production leaves one hoping that the company will follow up soon with Wilson’s sequel, Divorce Me, Darling.