The Watermill’s brilliance at musical theatre hasn’t yet encompassed opera, though it’s probably only a matter of time.

This is the original Beaumarchais play (translated by Ranjit Bolt) on which Mozart’s opera was based, and considered outrageous by Louis XVI who tried to ban it.

It’s easy to see why, mocking as it does the supposed great and good, but today it’s a rollicking farce perfect for a summer’s evening.

As with most farces, it only works if you can suspend disbelief right from the start.

In 1784 the story was incendiary, attacking the aristocracy and offering ordinary Parisians a laugh at their expense: today it’s just daft, and there are times when it’s hard to countenance the blindness of half the characters.

But, if you can just sit back and accept, there are some cracking performances to enjoy as well as, wonderfully, the Watermill’s gorgeous gardens for the last 20 minutes.

Rachel Atkins (aka Vicky Tucker in the Archers) plays the Countess with colourful verve, though a tendency to move her arms like a child’s imitation of a train are slightly distracting; and although her fawning over the delicious Cherubin (Liam Bergin) is as unlikely as his apparent reciprocity, it does make for some droll moments. Jason Baughan is terrific as Figaro and Philip Bird’s Count is suitably slimy.

His confusion between the tall and lissom Suzanne (Ruth Everett) and the somewhat more robust and smaller Countess, simply because they’ve swapped frocks, is the least likely case of mistaken identity you’re ever likely to see. But his utterance of the single word ‘No’, when his dishonourable intentions towards Suzanne are revealed, is a joy to behold, and should become the standard response for anyone for whom the game is well and truly up.

Wear flat shoes, take a cardi, and enjoy this summer romp.

It is on offer until July 30.