"The Servant of Two Masters" is modern Commedia, a fresh, joyous theatrical experience.

Lights pop up on a motley disgruntled acting troupe in rehearsal with costumes and casting incomplete. Faced with a recession and dwindling resources, the actors recycle props, weapons, and even their own performances from past plays.

Suddenly the actors realize that, "There are people in the seats." They panic, get set, and begin Carlo Goldoni's "Servant of Two Masters." Set in 17th century Venice, Goldoni's play is a comedy of errors in which Truffaldino (the servant) attempts to double his salary by serving two masters at once by juggling his tasks which are then complicated by irate fathers, thwarted lovers, delayed marriages, mistaken identities and misunderstandings.

The ever ravenous Truffaldino creates even further confusion by chronically lying to his two masters who happen to be tragically parted lovers. One is a mistress, Beatrice, (Kate Mulligan) in male drag (impersonating her own dead brother) and the other a swaggering narcissist, Florindo (Elijah Alexander).

With stock characters, plot twists, physical stylization and comic Lazzi (gags), Commedia dell' Arte is based on characters fulfilling their primal needs. Oded Gross and Tracy Young have adapted "The Servant of Two Masters" to create an exuberant update on the 18th century script. This modern commedia is innovative and self-aware. Truffaldino (Mark Bedard) is "starving for attention and meaning in his life to fill the void of food." He attempts self improvement by taking on two masters; then he attempts to attain perfection.

There is plenty of social and political commentary. The fluff-head actress, Clarice (Kjerstine Rose Anderson), declares, "I can see Russia from my house." Then she longs for "a wedding dress with fairy wings," as the spoiled young daughter of Dottore (Richard Howard). Florindo tells Beatrice, "If you were a man, I wouldn't be nearly as attracted to you." Smeraldina (Elisa Bocanegra) repels the philandering Pantalone (David Kelly) by telling him, "If you could run faster than a snail on Quaaludes, I might be worried." An astonished Florindo recalls his recent misunderstanding at Martino's, "In that hot dress and those heels anyone would have thought that sheep was a woman."

The comic ending reflects our most essential need, the need for one another. Even the "Incredibly scary and potentially psychotic" Brigello (Eileen De Sandre) finds love in a perfect match with the reticent First Porter (Todd Bjurstrom).

Richard L. Hay's minimal set, levels of mosaic, brick, and flagstone create intrigue with effective lighting by Lap-Chi Chu. Christal Weatherly's costumes are startling, clever, and richly reminiscent of Commedia dell' Arte.

Sound design by Paul James Prendergast includes sweet melodies and hilarious sound effects. There is one spectacular juggling coup of soup pots and meatballs seemingly hurled over the heads of the audience from actor to actor cleverly synchronized to the syncopated tympani of pots and pans.

Under Tracy Young's splendid direction, well-drawn comic characters balance nonchalance with superb comic timing as the high spirited actors scurry into, above, and around the audience.

If you are expecting something stodgy, stayed, or stylized, forget it. This is an exuberant, young production alive with fresh forms and fresh ideas to remind us, "It doesn't cost a dime to make somebody laugh."