This buoyant, beautifully appointed take on George Bernard Shaw’s early comedy is a textbook study in sprightly Shavian playing.

She described the politically active modern playwrights who fit into the second category, among them Tom Stoppard and Caryl Churchill, as “contemporary Shavians.”

But it is also bracingly Shavian as a candid dialectic about the challenges of modern womanhood, and manhood.