Tom Luna is back! Thank all the heavens, Tom Luna is back! After a six-year absence (aside from a great performance as Scrooge in a Keys Kids production one year ago), the much-loved, much-talented comedian can be seen on the stage of Waterfront Playhouse in the role of Tito through Jan. 8, leading (with able hysteria from Eric Cole as Max) a star-studded bunch of equal lunatics in a frenetic romp.

On the boards is a manic farce somewhat misleadingly titled “Lend Me a Tenor” — since opera is just the parsley on the plate, not the protein and potatoes. Excellently staged by Luna’s historically frequent co-star, Danny Weathers, the show was first seen at the Water-front back in 1991. Luna and leading lady Mary Falconer, as Maria, Tito’s wife, are reprising their roles as originally presented with Weathers as Max.

The play by Ken Ludwig, creator of other Broadway sensations including “Crazy for You” and “Twentieth Century” — the one with Alec Baldwin, Anne Heche and the locomotive on stage — is brilliantly crafted insanity, with a lofty standard of language much more common to 1934, when the play is set, than to anything heard lately. The pace is swift, the wit sharp, the diction praiseworthy.

Any more productions like “Tenor” and “Greetings!” at the Red Barn and I’m going to lose my rep as a tough curmudgeon of a critic. But I can’t help it. Luna — no, everyone ! — was wildly funny. Falconer was flawless, eyes flashing, spitting Italian passion with a perfect accent. (“I’m Greek,” she said after the show. “I think that helps.”) Luna’s Italian accent, and Cole’s in the impersonation/mistaken identity scenes, sort of came and went. I preferred the coming to the going but the lines and action were so good it didn’t matter much.

The laughs start from the moment the lights come up on Michael Boyer’s Deco dream of a set, a grand suite in the Ritz Hotel on the day of the amateur (or at best semi-pro) Cleveland Opera Company’s most ambitious benefit, with Tito billed to appear as guest artist. David Black as Saunders, the company’s executive director and fundraising chair, kicks it off with his own combo of controlled fury and bluster, and Elena Devers as Maggie, his daughter, sets a new high for lady-like and well-bred … for a while, anyway.

Veterans Marjorie Paul-Shook as Diana, the company’s ambitious, and horny, leading lady, and Rebecca Gleason as Julia, the company’s amusingly overdressed, and horny, board president and patron, both vamp nicely and hilariously on cue. Kyle Caskey shines, as has often been the case, in the minor role of the enamored bellhop; I suspect his face is made of Play Doh.

Weathers’ direction is inspired, and in some cases the blocking — as in those chases with slamming doors, the trademark of farce — is truly choreographed. The execution was flawless.

Carmen Rodriguez ably coordinated costumes rented from Glendale Costumes, which were of the era of the characters, Depression-blind socialites of the early ’30s. Julia, begowned, really did remind one of the Chrysler Building, and Maggie’s underwear was identical to some I discovered years later among items my mother identified as being part of her trousseau in 1933.

There’s no credit listed for make-up artist but the speed with which blackface was put on, and taken off, was noteworthy. Standard, competent lighting, designed by Kim Hanson, had one remarkable touch: Boyer’s probably 4-foot-tall Deco wall sconces, a half-dozen of them spaced throughout the suite, dimmed but never went dark, providing just enough light for graceful exits, entrances and scene changes. Clever.

Without reservation, I recommend “Send Me a Tenor” to anyone who enjoys top-rate theater and likes to laugh. And laugh. And really laugh. Trust me. There wasn’t a dry seat in the house.