Rabies, revenge and ribaldry make for a zany couple of hours in the company of the Bart Players.

The Players have been concentrating on comedies and feel-good drama of late, in contrast to their more serious phase of a few years ago. And this version of Le Procès Veauradieux, directed by Gareth Hammond, could hardly be less po-faced – it even features trouser-dropping as well as the tried and tested formula of mistaken identities, improbable excuses and sharp exits.

The Players' staging of Reggie Oliver's adaptation of this French play from 1875 (changed to an Edwardian setting) features the debut of not only four new members, but also a new sound and lighting system; this drama group is on a roll.

Lust is constantly thwarted as the medley of characters (or rather, caricatures) – a harassed lawyer, his interfering mother-in-law, his ex-cook, a lecherous uncle and another legal eagle – converges on a house of loose morals. The first act is a tad slow for a farce, but in the second the pace picks up briskly and the slapstick ensues. By the third act, it's difficult to keep up with the mayhem – and innuendoes – as each of the key characters finds themselves in jeopardy.

Joseph O'Connor (previously with Oxford Theatre Guild, and adroit in this role) takes the helm as the lawyer Fauvinard, veering between cunning and cowardice as he plots his secret assignations with woman of easy virtue Cesarine (played with obvious relish by the exuberant Claire Johnson). His real-life wife Kate Astley O'Connor (also ex-OTG) is suitably pained and bemused as Fauvinard's spouse Angele. A constant presence is her bossy and suspicious mother-in-law (Lesley Robinson), who in turn is the target of randy Gatinet (Steve Ashcroft); he raises plenty of chortles as he chases her around the stage.

Sean Moore is ably cast as Fauvinard's sidekick Tardivaut – particularly when his mime skills are called on. Rory Phillips – who took the lead role in the Players' last production, The Importance of Being Earnest – is another strong cast member as the debonair client of Fauvinard; Caroline Knight, who was an imperious Lady Bracknell in the last production, demonstrates her versatility here with a more demure character, Madame de Bagnolles. Rob Wondrak – who is also the stage manager – is amusing as a police commissioner with limited abilities and a faintly absurd costume. Sharon Williams dithers as woolly-headed maid Fanchette and servant Sophie (Ellina Mikhailova) is tasked with tackling an angry poodle. Credit is due to Denise Santilli, who has stepped into the part of surly cook Therese at short notice and puts in a confident performance.

The decision to adopt comic French accents might divide opinion, but this production is another which is likely to prove a crowd-pleaser.