RIDGEFIELD — Ken Ludwig is one of the most prolific playwrights of our time, having written over 34 plays and musicals over the last 40 years. His first big hit was 1989’s Lend Me A Tenor, a backstage farce of epic proportions followed by another backstage farce in 1995, Moon Over Buffalo.

A new production of the latter is running now at Ridgefield Theater Barn under the direction of Diana Canvoa, who is no stranger to the show, having directed it last season for Town Players of Newtown.

Many of Ludwig’s plays over the years have become formulaic. Take a fading celebrity (or two in this case), add jealous misunderstandings and a progressively drunk leading man, and you have a recipe for hilarious disaster. Buffalo is a prime example of Ludwig at his best.

Once a star vehicle for Carol Burnett, Moon Over Buffalo tells the backstage tale of married actors George and Charlotte Hay, who have found themselves in 1953 Siberia — or so it seems to them. It’s Buffalo, N.Y., to the rest of us. The two fading stars are touring classic plays in repertory, Cyrano de Bergerac and Private Lives.

While Gillian Holt reprises her role from the Newtown production as Charolotte Hay, that is where the similarities end. Holt has brought new energy to the role, making this larger than life dame of the theater a farce to be reckoned with. Her performance perfectly plucked out of a 1940s screwball comedy, she squeezes every laugh out of each and every line.

Holt is paired with Fred Rueck as George Hay, the star holding on to every last bit of his fame. Ruek holds his own against Holt, portraying the dashing star who unknowingly gets progressively drunker as the play goes on, only to crash the stage during a performance of Private Lives dressed in full Cyrano garb. Rueck’s combination of pompous star with subtle comic delivery is comedic glory to watch.

Julia Preis brings a strong performance to the role of Rosalind, George and Charlotte’s daughter. Her pairing with Cooper Smithers as Rosalind’s meteorologist fiancé Howard is a nice grounding reality to the chaos that ensues.

Smithers’s physical comedy brings some of the biggest laughs in the show. No spoiler here, but some of the bits he has leave the audience genuinely concerned for his well-being. All in good fun, of course.

Tim Huber is another standout as Charlotte’s Lawyer and sometimes lover Richard. While he does not have much stage time, he makes the most of it. His dry delivery is perfection.

As in any farce, the main characters are supported by a hilarious ensemble. Elayne Gordon delightfully portrays Ethel, Charlotte’s long suffering and hard of hearing mother, with Clara Sussman flawlessly playing the naïve Eileen, a company member with a secret.

The beautiful set, designed by Claudia Noel Nerreau and brought to life by Micheal Macri and his team, proves to be another star of this show, transporting audiences back to the green room of a 1950s theater. Every detail has been considered.

Overall, this is a top notch production which will keep audiences laughing for a few hours, wishing there was more.

Performances of Moon Over Buffalo at Ridgefield Theater Barn continue weekends to June 21. Tickets and more information can be found at ridgefieldtheaterbarn.org.