For its fifth production, Saltfire Theatre ventures far beyond America’s sinking shorelines to the fertile fields of pre-revolutionary Mother Russia, where Anton Chekhov (1860-1904) found ample material for his great plays and stories. As serious as some of those plays may be, Saltfire turned instead to The Sneeze, Michael Frayn’s frequently produced translation of eight of Chekhov’s comical one-act plays and short stories. Deftly (daftly?) directed by Connor Zaft, Saltfire’s late afternoon’s summer entertainment is guaranteed to make you laugh your head off at humanity’s rich smorgasbord of absurd personalities and circumstances.

Mockery is one of Chekhov’s first lines of attack. In “Drama,” he mocks an aspiring playwright, and in “Alien Corn,” he pits Russian culture against French culture. In the latter, French mustard provides but one of many stings as Chekhov laughs at everything and everyone. His scenarios often involve people who intrude on each other’s space and refuse to take hints larger than stop signs projected onto a huge Cinemax screen. How dumb, oblivious, and lacking in self-awareness can people possibly be, Chekhov seems to ask? Anyone who follows today’s political campaigns knows the answer to that one.

One of Saltfire’s many strong points is its assemblage of fine “local” actors, many of whom often perform far beyond the waters of the Olympic Peninsula. The show starts strong, with frequent director Genevieve Barlow physically and histrionically perfect as “Murashkina.” Thanks to her skill, what could easily devolve into melodramatic monotony instead becomes a source of hilarity.’

Day-job librarian Scott Bahlmann, who excelled in tragedy in Saltfire’s production of Shakespeare’s Twelfth Night, mines every ounce of comedy out of Champugne, the absurdly named French tutor in “Alien Corn.” He is equally triumphant in the evening’s final offering, “The Proposal,” whose rip-roaringly funny conclusion cast a bright light over Chimacum Valley as the opening night audience made its way back home. Then again, in “The Proposal,” Bahlmann plays against one of the most outstanding comic talents to ever walk the streets of Jefferson County, Maude Eisele. When Bahlmann and Eisele’s characters start fighting with each other, only to be joined by the excellent Doug Caskey as Chubukov, you may laugh so hard as to find yourself short of breath.

Most of the scenarios are hilarious, but a few push cliché to the point of tedium. In his lecture monologue about “The Evils of Tobacco,” Zach Nesmith never succeeds in freeing himself from the deadliest of audience responses, i.e. “Who cares?” Even “The Sneeze” can’t entirely propel itself beyond its soggy clichés—flashbacks to the height of the COVID pandemic and its lingering realities do not help matters—but Eisele, who plays a very minor government official with a major nasal problem, is too quick on the draw to allow any weakness in the story line to diminish her talent.

Judd Farris, whose voice easily projects all the way to Whidbey Island, turns in winning performances in “Drama” and “The Bear.” It’s a shame that he can’t be present for all six remaining performances in the show’s three-weekend run, but those who attend the last two performances will rejoice in the talent of this invaluable Saltfire asset. Michelle Hensel, a major regional theatrical asset for a quarter century, outdoes herself as Svetlodidov in “Swan Song.” Doug Caskey is another player who is a joy to watch. Ciel Pope, fresh from an acting gig elsewhere, galloped back into town too late to assume a talking role, but shows herself in full command of the reigns in “The Inspector General.” You’ll see…

The Sneeze continues at Finnriver Farm & Cidery August 16-18, and then moves to Fort Worden’s Littlefield Green August 23-25. It’s an early show, beginning at 4:30 some days and 5:30 others. Which means you’ll likely remain warm and comfortable until you’re so busy laughing that you’ll forget about the weather. For tickets and information, see saltfiretheatre.org.

Jason Victor Serinus is an arts critic whose work has appeared in Classical Voice North America, Seattle Times, Carnegie Hall, and San Francisco Classical Voice.