No reservations about Eastern Michigan University's production of "Hotel Paradiso"

Georges Feydeau’s “Paradiso” focuses on a failed tryst between a Parisian builder named Pinglet (Maxim Hunt) and his best friend’s wife, Marcelle (Luna Alexander). The two plan to spend the night together in the Hotel Paradiso. But when Marcelle’s husband Cot (Joseph Fournier) and his bookish nephew Maxime (Matt Andersen), as well as Pinglet’s maid Victoire (Analea Lessenberry) and his friend Martin (Chris Sweet) all turn up at the same hotel, Pinglet and Marcelle must scramble to cover their tracks, though nothing has actually happened between them.

Guiding this cleanly-staged, sharply funny production is director John Seibert, who accentuates the script’s vaudevillian moments with whimsical flair, and also gives his student actors plenty of room to play. Plus, while farces often become irritating by way of trying way too hard, Seibert stages the play’s physical comedy — particularly near the second act’s end — with a light touch, and the production is better for it.

Ultimately, though, Seibert’s vision for the show must necessarily be carried out by the ensemble, and “Hotel”’s is both skilled and cohesive. Hunt and Alexander play off each other well, and appealingly invite the audience in by way of occasional asides.

Andersen, meanwhile, is hilarious as the tightly-buttoned-up young man who’s shaken up by Victoire’s advances (as she rubs her foot along his upper leg, he deadpans, “That is a distinctly pleasant sensation”); Sweet nicely works the comedy of his character’s rain-induced-stuttering without forcing the issue; and as the sleazy hotel manager Anniello, Andy Orscheln earns several big laughs.

Jeremy Hopgood’s set — featuring Pinglet’s home in the first and third act, the Hotel Paradiso in the second — Melanie Schuessler’s period costumes, and John Charles' lighting design combine with show's fine direction and performances to make “Hotel” the most satisfying EMU production I’ve seen in a while. (And the old-fashioned footlights are a sweet little touch.)

For despite the 2-and-a-half-hour running time, the pace is swift; and while there might not be much substance, the show is irresistibly cute. To give you a taste, there’s a comic bit in the first act wherein Maxime is looking for his Immanuel Kant book; with wordplay that confuses “can’t” and “Kant,” and “a manual” and “Immanuel,” the moment becomes a truncated, groan-worthy version of Who’s on First.

Which is to say, all of this is quite fun. Peter Glenville’s "Hotel" translation has lots of life (despite its use of unison dialogue, which gets old), and Seibert and his cast really run with it. Strangely, I enjoyed the first act the most — but even so, I wouldn’t check out of this “Hotel” a minute before I had to.

Jenn McKee is the entertainment digital journalist for AnnArbor.com. Reach her at jennmckee@annarbor.com or 734-623-2546, and follow her on Twitter @jennmckee.