The Pennsylvania Playhouse production of Christopher Durang’s Tony Award-winning play, “Vanya And Sonia And Masha And Spike,” does Christopher Durang proud.

In fact, if Durang could make the drive from his Bucks County residence to Bethlehem to see the production, he would be immensely impressed with the cast’s performances and the direction by George B. Miller of the zingy comedy, continuing through Feb. 21 as the opening show for the Playhouse’s 51st season.

While it’s considered poor form for a reviewer to compare different productions of the same stage show, Miller and the cast serve Durang’s material splendidly, even in light of the play’s 2014 regional premiere at Bucks County Playhouse, New Hope, which starred Marilu Henner with Durang himself in the lead role of Vanya.

Henner played the part originated by Sigourney Weaver when “Vanya And Sonia And Masha And Spike” had its world premiere in 2012 at the McCarter Theatre, Princeton, N.J., starring David Hyde Pierce, Kristine Nielsen, Sigourney Weaver and Billy Magnussen, with the cast also starring in the 2013 Broadway production, which received the Tony for best play.

“Vanya” has a strong pedigree, as does the Playhouse production’s director, Miller, who has directed Durang’s “Sister Mary Ignatius Explains It All to You,” “The Marriage of Bette and Boo” and “Baby with the Bath Water,” among others. Miller understands the nuances in the Durangian wit, which is propelled by bewilderment, resignation and hope, often, as in “Vanya,” in that order of unfolding.

“Vanya” has a contemporary setting in Bucks County at the family manse occupied by Vanya and Sonia. The property’s upkeep is funded by Masha’s acting career. The storyline hinges on Masha’s visit with her much younger boyfriend, ostensibly to attend a party.

Durang’s smart sendups of pop culture (the 1978 movie “California Suite”) and celebrity (the TV show “Entourage”), as well as local shoutouts (“What kind of name for a town is Upper Black Eddy?”) and theatrical asides (“It was all rather Pirandellian.”) are great fun.

Miller elicits wonderful performances from the “Vanya” cast. Each makes us laugh with their antics, even as each brings pathos to his or her part.

Jan Labellarte as Masha (the Sigourney Weaver-Marilu Henner role) touches all the nerves and creates a petulent character that is a bundle of nerves and hyper-vigilant about her relationship with her siblings, Vanya and Sonia; her boyfriend, Spike (a vibrant Goran Zdravkovic who manages to play a truly stunning Adonis while maintaining a likeable personality) and, perhaps most importantly, her acting career.

Tatiana Torres as Cassandra, the cleaning woman, is true to her character’s predictive name. Torres is delightful as she handles the role with great gusto while maintaining the character’s inherent dignity and not letting the role descend into stereotype

Kenrdra O’Donnell as Nina, a star-struck neighbor, plays the ingenue with a sincere determination and wholesomeness as though she stepped out of the classic 1950 film “All About Eve.”

Jeanie Olah as Sonia is a tragic, sensitive and confused figure who rallies, picking up the shards of her shattered personality to make herself whole again in a revelatory and pivotal scene where it’s just her and the phone. She has, ahem, the ring of truth and conveys emotional resonance.

Mike Febbo as Vanya seems small and scattered until his reaction to Spike’s unaware, self-involved insolence triggers a torrent of emotion. Febbo’s rendering of the monologue of remembrance of mid-century modernism is breathtaking. This scene alone is worth the price of admission. Boomers can relate to it. Millenialists will learn from it. Febbo is triumphant, raising the play from a mere trifle to a tour de force.

The set design by Brett Oliveira and Michael Schofield successfully angles an outdoor patio, with its wicker chairs and other thoughtful details (A framed photo of Chekov graces a table.), turning the sometimes problematic Playhouse stage into a semi-three-quarter-round thrust. Lighting by Oliveira keeps the mood, well, appropriately moody. Sound design by Virginia Wilson and Mark Bennett is effectively evocative. Costume design by Kate Scuffle is character-appropriate with the costume party outfits a hoot.

Durang plays the Chekov references to the hilt (“Uncle Vanya,” “The Cherry Orchard,” the play within “The Seagull”). Seasoned theater-goers and students of theater will relish the touchstones, but you don’t have to be a Chekov groupie to enjoy the show.

“Vanya And Sonia And Masha And Spike” is a play that grows in stature with repeated viewings, no more so than in this remarkable Pennsylvania Playhouse production. Visit the house of Vanya and Sonia and take away an understanding that will linger long after you depart.

Miller dedicates the Playhouse production to Matthew Stitzer, an area actor who died Jan. 21.