SHERIDAN’S wonderful comedy The Rivals, origin of Mrs Malaprop and regularly described as “timeless” proves its versatile longevity in Jack Absolute Flies Again, a new Battle of Britain-set adaptation by Richard Bean, who re-wrote Goldoni as One Man, Two Guvnors, and actor Oliver Chris.

It is a marvellously inventive reworking, set at Malaprop House, where the lady of the manor has generously loaned her croquet lawn to the RAF as a base for their sorties over the North Sea. Any fan of malapropisms will be in stitches at the verbal confusions given to our 20th century Mrs M, and at Frome Sue Ross makes the most of every mangled meaning. She is ably supported by her maid Lucy, (Tracey Rupp Rawlins) who crosses the fourth wall to tell the audience that she is, after all, a theatrical device.

Richard Wright not only directs this terrific production, but is responsible for the design of the set (with Geoff Hunt), lighting and sound that make the whole experience a sheer joy for the audience. They are even greeted by Rosie the Riveter usherettes! The appropriate war-time hits that blended jazz and swing with the brassy sound beloved of the military were played against a solidly convincing aerodrome peopled by perfectly uniformed characters whose faultlessly 40s demeanours captured the very essence of the time, albeit with spiced-up 21st century language.

The adaptors stay close to Sheridan’s original story, but convert lumpen Bob Acres into an uncouth Aussie, introduce a British pilot with roots in the Sub-Continent, stress the crisply accented class distinctions and desire for equality among women who had only recently won the right to vote – and make sex a lot more obvious than it was in Sheridan’s 1775. Frome Drama’s production was point-perfect in its depiction of wartime fears, bravery, fun and games, and that made the very brave ending all the more poignant.

Jed Hamilton-Shaw is the heroic Jack, and Richard Massey his bombastically loveable father, Brig Tony Absolute. Tabitha Bradley’s spunky and determinedly difficult Lydia is nicely contrasted with the gleefully buttoned-up Julia of Katherine Symonds-Moore. James Moore gives Faulkland’s insecure jealousy a truly yucky controlling element. Michael Starr brings a wonderfully gauche goodness to the fit fitter Dudley Scunthorpe, and Richard Thomas almost out -Pattersons Sir Les, with Jon Peckover as the delightful plagiaristic poet Tony (aka Bikram) and Julian Thomas grabbing every sparse opportunity to introduce Coventry’s character to the audience. I cannot imagine seeing this hilarious play better done, by professional or non professional companies.

Richard Wright says in his introduction: “In these sometimes very serious times, to be able to escape for a short time and laugh at life, past or present, is a great thing”. He and his wonderful cast and crew did just that, and we thank them for it. It is only a pity the run isn’t longer, or I’d be back.

GP-W