For starters, before the play unfolds in its trimmed-down 90-minute intermission-less, version, skillful dancers cavort, jitterbug style, in a 1940s juke box environment, with the music recalling the big bands of the time. They are a swinging show unto themselves, and appear as a chorus at various points in the production.

The Ephesus setting has a Mafia-ruled taint, accent included—“Syracus-e,” as the boss, the Duke (Skipp Sudduth), pronounces it. A posted bus schedule includes various New York state cities that jibe with classic names. Visually very clever.

The play enabled Shakespeare to have plenty of fun with the theme of mistaken identity and all the complications that accompany it. Hamish Linklater raises comedy to a high art playing both Antipholus of Syracuse and Antipholus of Ephesus, while Jesse Tyler Ferguson provides much hilarity amidst the confusion of his roles as Dromio, the servant of Antipholus of Syracuse, and his brother, Dromio of Ephesus, also a servant.

The explanation of long lost sets of twins dating to a shipwreck is handled smartly with a model boat and puppets and amusing stagecraft, the boat being pulled from a seemingly bottomless valise reminiscent of the old circus gag of an army of clowns emerging from a tiny auto. The search for his sons by Syracuse merchant Egeon (Jonathan Hadary), who risks execution by merely venturing into Ephesus, is encapsulated in a long speech as he amusingly relies on the props.

As for the women in the mix, Emily Bergl, a nightclub star as well as an actress, is as broadly funny as she is pretty in the role of Adriana, with a gift for slapstick. As her sister, Luciana, Heidi Schreck is also a delight. The entire company gets solidly into spirit of the mayhem, even including nuns with guns.

Many expert hands are involved in making this offering a success. John Lee Beatty’s set design, including three colorful little buildings that anchor the action, all against a perfect park background, is amusing. Mimi Lieber is responsible for the sprightly choreography, featuring a cross between dance and gymnastics befitting jitterbugging raised to its heights. Jeff Croiter’s lighting design is a plus, as are the costume design by Toni-Leslie James, the wig and hair design by Robert-Charles Vallance and the sound design by Acme Sound Partners. Applause is also due all the rest who hand a hand in staging this bonbon.

I don’t care for Shakespeare updated just to be different, but the vision here has the effect of highlighting the Bard’s mischievous comedy so that it comes across as fresh and uproarious, not a modern hash of the original. The updating also sets the perfect scene for the dancing. Seeing this production makes for a perfect summer park outing that should send you home happy and uplifted. A the Delacorte Theater, Central Park entrance at 81st Street and Central Park West, or at 79th Street and Fifth Avenue. Phone: 212-967-7555. Reviewed June 19, 2013.