STAGE REVIEW: The Hypocrite - at the Swan Theatre, Stratford-upon-Avon, until April 29, 2017.

BOISTEROUSLY bawdy and rib-tickling raunchy this is, seriously, a riotously funny farce of epic proportions.

Bizarrely it begins with the ending and then proceeds to show how we got there as it takes no prisoners on its romp through history as England slips towards a civil war.

It’s 1642 and King Charles I has attempted to arrest five members of the House of Commons. It’s the Royals against Parliament and up in Hull is the largest munitions store outside the capital. Both sides have their sights set on it and that’s the cue for an explosion of mirth.

We’re introduced to all of this by Laura Elsworthy’s exquisite maid Connie, with her exceptionally droll and dead-pan delivery which takes her from selling ‘execution apples’ to an entrepreneurial enterprise she hopes will see her rise above the rest in the baking industry.

She’s far, far cleverer than she looks or is given credit for - a servant with eyes set on a higher station in life. But for now she’s just at her master’s beck and call.

Meanwhijle, all around her, it’s slapstick and madcap mayhem with little time to rest in between the gags and comic portrayals which provide the perfect vehicle for the outstanding Mark Addy and Caroline Quentin, who as Sir John Hotham and Lady Sarah Hotham, have clearly already declared war in their marriage.

This outstanding comic offering is Hull-born playwright Richard Bean’s contribution to his home-town’s 2017 City of Culture jamboree.

It’s a considerably earthy romp which is proving to be a fine challenger to his previous major success back in 2011 with his One Man, Two Guvnors.

Clearly enjoying his return to his roots this is an absolute ‘Bean’-feast full of witty repartee, innuendo and downright risqué rudeness. It’s far from subtle!

Hull, the audience is led to believe, played a crucial role in the nation’s history.

Hotham, then its Governor, is caught between two stools. He had stopped Charles I from entering the ‘city’ but his allegiance switched from Crown to Parliament, and back again, like the see-saw he often alluded to. Unsure which side of his bread was buttered provided plenty of opportunities for frantic fun.

But in trying to keep both sides sweet and provide a dowry for his daughter, this local bigwig wound up facing trial for treason and was duly executed in 1645, as was his eldest son Captain John.

Addy, often dishevelled, and Quentin, all ringlets and heaving bosoms, want out of their partnership and clearly have great fun as they trade insults with a coarseness that could make your hair curl. Withering looks, audience asides, and even involvement, has events rollicking along under director Philip Breen’s guiding thoughts.

On it goes as Bean ensures a cart and horses rides roughshod over any feelings or sensitivities with a madcap script that includes two royals forced into cross-dressing disguise, an ancient doddery servant called Drudge (Danielle Bird), who is hauled and thrown around the stage, and even pushed/dropped down holes.

There’s also Ben Goffe’s vase obsessed ghost-child. He also doubles up as possibly the shortest actor to play Charles I - but got one of the biggest laughs as he rode onto the stage on his wheeled charger!

Everyone pulls their weight with great enthusiasm and enjoyment - not a weak link in sight, and you can also throw into the mix troubadour protest-singers with driving music and lyrics by Grant Olding.

If there's a prop that can provide a laugh Bean goes for it. One or two jokes were a touch lost on the audience with their Hull-orientation but it failed to dampen the lift this production provided and the rapturous reception it received and deserved.

Not only warmly, but also hugely recommended - you’ll be in for a ‘Hull’ of a good time…