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“The Merry Wives of Windsor Cove,” a musical adaptation of Shakespeare’s “The Merry Wives of Windsor” at UC Irvine’s New Swan Shakespeare Festival, relocates the comedy to a Southern California beach town in the 1950s. The surf’s up, a chocolate-covered-banana stand is hopping and a washed-up Elvis-like rock star named Johnny Falstaff is trailing chaos.

Those merry wives aren’t actually all that merry about the state of their marriages. Margaret Page (Sonya Cooke) has lost all patience with her grinning, gadabout husband, George (Evan Lugo), who floats through life as though it were as lighthearted an affair as “Beach Blanket Bingo.” Margaret’s best friend, Alice Ford (Sarah Hentges), has more serious problems with her jealous husband, Frank (Abel Garcia), who suspects infidelity whenever she leaves the house.

When Falstaff (Wyn Moreno), motivated by avarice and a mania for cuckolding, comes a-wooing, sending identical letters to Margaret and Alice, the wives grow merrier as they set a trap for their shameless suitor, whose uncontrolled appetites make him an easy mark.

Margaret and Alice are the forerunners of Lucy and Ethel, and Shakespeare’s comedy, written expressly to entertain, gives us a sense of what an Elizabethan-era situation comedy might look like. The Falstaff of Shakespeare’s “The Merry Wives of Windsor” is not the complex figure of the “Henry IV” plays. (The late scholar Harold Bloom, a Falstaff fanboy, called this version of the character “pseudo-Falstaff, “ and considered “Merry Wives” to be, along with “The Two Gentlemen of Verona,” Shakespeare’s “slightest” comedies.)

Sonya Cooke (Margaret Page) and Sarah Hentges (Alice Ford) in “The Merry Wives of Windsor Cove.”

(Jesus Lopez Vargas)

Revivals of “Merry Wives” are not all that frequent. I’ve seen Verdi’s “Falstaff,” which heavily relies on Shakespeare’s plot for the opera, more times than I’ve seen the play. But Margaret and Alice’s quick-witted machinations provide the basis for a merry outing at the theater.

When the possessive and paranoid Frank Ford runs into Margaret as she’s scurrying to meet his wife, Alice, he pointedly remarks, “I think, if your husbands were dead, you two would marry.” To which she replies in savvy screwball fashion worthy of Carole Lombard: “Be sure of that — two other husbands.”

I have a soft spot for “The Merry Wives of Windsor.” The refreshing sight of the women teaming up against Falstaff never fails to amuse. And I appreciate the frank and forgiving light the play sheds on long-term marriage.

But swaths of the comedy are antiquated. And the language has a dashed off quality in places, suggesting there’s some truth to the legend that Shakespeare wrote the play at the request of Queen Elizabeth, who was said to be so charmed by Falstaff that she wanted a sequel depicting Sir John in love.

Falstaff isn’t exactly in love in Shakespeare’s comedy. And he definitely isn’t motivated by pure romance in this adaptation, written by New Swan founding artistic and producing director Eli Simon and Anna Fitzgerald, with music by Zachary Dietz. As in all things, Falstaff is led by his belly, a gargantuan metaphor for his gluttonous nature.

Megan January (Nym), Wyn Moreno (Johnny Falstaff) and Sam Schneider (Pistol) in “The Merry Wives of Windsor Cove.”

(Jesus Lopez Vargas)

The pastiche score, indebted to the pop charts of the 1950s, isn’t allowed to dominate. As modern musicals go, this is a low-key affair. The comedy is still the thing in this frolicsome outdoor production, which takes place in the charming ambiance of the festival’s portable, mini-Elizabethan venue.

The cast is principally composed of UC Irvine students, past and present, with a few guest artists in the mix. Under Simon’s direction, the presentation is smooth and professional, though the ensemble reflects different levels of experience.

My general note is particular to the genre: Comedy works best when exaggeration arises the way it does in nature, as a fact of personality rather than as a calculated theatrical effect.

Certain members of the cast push the humor a little too vociferously. How much funnier Shakespeare’s motley crew can be when we’re allowed to discover the variety of eccentricity and ludicrousness on display for ourselves.

Falstaff’s girth is worked into the comic mayhem, but the character should be more than a sight gag. Moreno tries to preserve a measure of dignity while wearing a jumpsuit from Elvis’ Las Vegas era. But the sight gag nature of the characterization is overworked.

Garcia’s Ford seems not just jealous but borderline apoplectic. (Garcia is more nuanced when Ford is operating in disguise to suss out Falstaff’s true intentions.) As Doctor Cayo, one of the risible suitors for Anne Page (Marilyn Alonzo), Heriberto Cruz Jr. delivers a flailing, full-body performance that practically holds the audience hostage for laughs.

Evan Lugo (George Page), top left, Sonya Cooke (Margaret Page), top right, Zane Caputo (Abraham Slender), from bottom left, Zach Trent (Skateboard Fenton) and Heriberto Cruz Jr. (Doctor Cayo) in “The Merry Wives of Windsor Cove.”

(Elijah Waller)

Robert Shallow (Greg Ungar) does what he can to promote Abraham Slender (Zane Caputo, appropriately zoned out), his socially inept nephew, as a prospective husband for Anne. But neither gentleman is what anyone would call efficacious. In truth, both performers seem more at home as members of the Banana Splits Band, the quirky onstage combo that ushers in the show’s retro beat.

In a nicely balanced performance, Alejandra Villanueva’s Mistress Quickly, the play’s go-between and overseer of mischief, embodies the free and easy spirit of Simon’s production. Lugo’s George has a simple affability that’s infectious. And Alonzo’s Anne and Zach Trent’s Skateboard Fenton, the young lovers swerving around parental obstacles, are a delightful throwback to those gaga California kids from the age of “Gidget.”

Cooke’s Margaret and Hentges’ Alice remain, as they should, defiantly in charge. The adaptation delves more into their marital melancholy, but I felt I understood them better in Shakespeare’s original, which recognizes the power of suggestion and interpretive restraint.

Yet “The Merry Wives of Windsor Cove” succeeds in extending a warm communal embrace to its audience, which is the ultimate aim of this mischievous and kind-hearted comedy.