Unveiled two years ago, Opera della Luna’s impish take on the first full-length G&S opera still fizzes and sparkles with breathtaking energy, as the company demonstrated at Chipping Norton Theatre last weekend. In true OdL style, the production — updated to the 1970s — takes audacious liberties, but does so with irresistible good humour, and the musical standard is, as ever, top notch.

One of the biggest delights of this production is Jenny Arnold’s slick, disco-style choreography, performed by the entire cast with such zeal that I had to resist the urge to leap to my feet and join in. Other highlights include the clever use of handbells during the overture and opening chorus, the seamless interpolation of Sullivan’s The Lost Chord into both finales, and the restoration of Lady Sangazure’s poignant ballad In Days Gone By, beautifully sung by Sylvia Clarke.

Cast changes on this tour include Abigail Iveson as a spirited Aline and David Freedman as a delightfully droll Notary, while on Saturday night Fenton Gray replaced Richard Gauntlett in the title role, which he handled with aplomb, although his patter song could have done with a crisper delivery.

Oliver White (pictured) was once again in fine fettle as the ridiculous idealist Alexis, every inch a 1970s icon in his purple suit, frilly white shirt and blue sparkling shoes, and with a penchant for uttering the words ‘groovy’ and ‘lurve’. Strongly sung, acted and danced, this was the outstanding individual performance of the evening. Also highly enjoyable were Philip Cox’s Dr Daly (with a particularly funny rendition of Oh my voice is sad and low in Act II), Claire Watkins’s sweetly geeky Constance and Ian Belsey’s gloriously pompous Sir Marmaduke.

Full of fun, mischief and naughtiness, this production is as potent a cocktail as the Sorcerer’s love philtre. I have seen it three times and can’t get enough of it. Don’t miss it at the Oxford Playhouse on June 13.