‘Charley’s Aunt’ goes nuts — in a good way

Where the nuts come from.

That’s not just a line in “Charley’s Aunt,” it’s a capsule summary.

The Utah Shakespeare Festival’s production of Brandon Thomas’ giddy farce argues that — to borrow one of Mae West’s most memorable lines — ­­too much of a good thing can be wonderful.

Not entirely wonderful, mind you, and not always. But enough, and often enough, to make “Charley’s Aunt” a welcome comedic romp.

A frantic farce in a stately setting — starchy Victorian­-era England — “Charley’s Aunt” stakes out familiar territory, serving up high­-spirited hijinks ranging from mistaken identity to comedic cross-­dressing.

All in the name of love, of course.

“Charley’s Aunt” transports us to Oxford University, where undergraduates Jack Chesney (genial Brendan Marshall-­Rashid) and Charley Wykeham (the excitable Tasso Feldman) devote themselves to their favorite subject: romance.

If only they could get their respective sweethearts — Jack’s Kitty Verdun (a witty Betsy Mugavero) and Charley’s Amy Spettigue (amiable Kelly Rogers)­­ alone in the garden, or on the terrace, or anywhere, to confess their affection. Alas, they can’t make any such moves without a proper chaperone.

Luckily, Charley’s wealthy aunt from Brazil (where all those nuts come from) is scheduled to pop ‘round for a visit that very afternoon. Unluckily, she’s been detained. Then, luckily, classmate Lord Fancourt Babberley (Michael Doherty) turns up, toting a costume for an amateur theatrical performance. A costume for a lady — an older lady who might possibly pass for Charley’s aunt.

Putting a man in a dress is always good for a laugh, to be sure, and “Charley’s Aunt” takes full advantage of the situation. But director David Ivers has other tricks up his theatrical sleeve, working the contrast between presumed decorum and comic mayhem for all it’s worth. “Charley’s Aunt” reaches fever pitch in short order — and, because it doesn’t bother to build the humor more slowly, there’s really nowhere to go but over ­the ­top.

Moreover, scenic designer Jack Magaw’s three elaborate sets, impressively detailed as they are, sometimes distract from the action, rather like a fancy frame that competes for attention with the painting it’s supposed to showcase.

Such quibbles aside, “Charley’s Aunt” cheerfully pokes you in the ribs until you surrender and embrace its charmingly antic humor.

Everyone in the cast contributes to the fun, from Andy Baldeschwiler as a sardonic butler observing the shenanigans to John G. Preston and John Pribyl as crusty rivals for the title character’s affections.

But it’s hardly a surprise that Doherty steers the fun (and steals the show) as the madcap Babbs. Such endless energy. Such shameless physical comedy. Such a naughty imp.

But he — like the play itself ­­— eventually wears you down until there’s nothing to do but surrender, laugh, and admit that visiting the place where the nuts come from makes for a most beguiling trip.

— CAROL CLING