With the multi-disciplinary workload of extending the run of A Play, A Pie And A Pint into the time-frame of the West End Festival, welcoming on board a new sponsor and being the first of a handful of classic dramas in the confines of the lunchtime slot, Tam Dean Burn's adaptation of Congreve's Restoration comedy cheerfully embraces two more tasks.

The first is a critique of its present-day performance context in a sharp prologue from the pen of TDB himself that owes as much to Rabbie Burns as Willy Congreve, cites many of the real-life dramatis personae at Oran Mor, and characterises the audience as "academics and the abstemious", which is probably funnier than it is true.

The second comes with designer Kenny Miller, in the form of set and costumes we thought had been lost to Glasgow. This is a pocket Citizens' show from that venue's golden age, played transverse on an opulent catwalk, with furniture, foliage and flickering candles that will transport those of sufficient vintage to the Gorbals. Mark Prendergast's soundtrack of disco classics suits the look to the beat.

With Johnny Austin, as Mirabell, in drainpipe jeans and aviator shades, and Carmen Pieraccini (Millament) sweeping on to the catwalk in billowing black satin, fearsome heels and hornrims, the production's sense of style is superb and Pieraccini, in particular, matches the look with a brilliant - and hilarious - performance.

Burn also has a history of Citz involvement, and his clowning as Sir Wilfull Witwoud - speaking in a West Highland accent but singing like Sidney Devine - is a diverting sideshow to the repartee of the sparring couple. It's a Classic Cut, but one the way the Citz might have done it.

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