“Seinfeld,” the landmark TV situation comedy (NBC, 1989-1998) was famously referred to as “a show about nothing.”

Pennsylvania Shakespeare Festival Producing Artistic Director Patrick Mulcahy pointed out on a recent WDIY radio station “Shakespearean Insights” that playwright William Shakespeare was so far ahead of most humans that “we’re still catching up.”

No more so is that true than for Shakespeare’s comedy, “Much Ado About Nothing,” written 1598-1599, some 400 years before Larry David and Jerry Seinfield created “Seinfeld.”

The Pennsylvania Shakespeare Festival production of “Much Ado About Nothing,” through Aug. 7, Schubert Theatre, Labuda Center for the Performing Arts, DeSales University, is a comedy masterpiece.

As with Shakespeare’s comedies, “Much Ado About Nothing” is a template for situation comedies, “Seinfeld” et al. That’s nothing to sneeze at.

As directed by Matt Pfeiffer and with a versatile and vibrant cast, “Much Ado”‘s merriment and mirth explodes from the stage and, in at least one instance opening night (July 15, the performance seen for this review), spills over and nearly lands in the lap of the audience.

Benedick (Akeem Davis) takes from a patron her theater program to hide behind as he sits on the steps in the aisle, only to have Leonato (Eric Hissom) grab the program from his hands and tear it to shreds. (The theater-goer received a replacement program at intermission).

This kind of risk-taking hijinks typifies the high-energy production with Pfeiffer, a kind of Pied Piper of Comedy in his numerous Shakespeare plays directorial duties at PSF, invoking a madcap approach that encourages actors to work the edges of the material and sometimes go over the edge, or at least over the top, with often side-splitting results.

As with the aforementioned example, Pfeiffer’s approach is not programmatic, but rather rooted in improv, as in improvisational comedy. To achieve this, you need a talented and brave cast and PSF has that for “Much Ado.” It’s “Much Ado” about talent.

Akeem Davis (Benedick) is a dynamic presence who seems to bound all over the stage. One minute he’s here. The next minute he’s there. Moreover, Davis’s commanding voice is wonderful to hear.

Opposite Benedick is Brett Ashley Robinson (Beatrice), who gives as good, or better, than she gets. Robinson is a sparkling presence and sparks fly between her and Davis.

The balance between the two actors, as well as the competitive aspect of the characters they portray, the arc of their characters’ journeys, their self-discoveries and discovery of each other is directed by Pfeiffer in such a way as to provide a charming sweetness that will dare anyone in the audience to have a dry eye at the play’s exuberant conclusion.

The parallel story in “Much Ado” is that of the couple, Hero (Taylor Congdon) and Claudio (Gabe Moses). Their love story is romantic from the start. Each plays their role with wide-eyed wonderment and a lightness in step symbolic of the wings of love.

The fulcrum is provided by Leonato (Eric Hissom), whose sway over the proceedings is more that of a head-scratcher. Hissom is wonderfully understated, with a lithe and balletic befuddlement far wiser than at first blush.

Barreling onto the scene in one of the wackiest characterizations ever on the PSF stage is Anthony Lawton as Dogberry. In Charles Lloyd silent comedy style spectacles and Deputy Dawg Terrytoons cartoon character outfit, Lawton makes quite a spectacle of himself, leading a contingent akin to Monty Python’s The Minister of Silly Walks.

Shakespeare’s character in dialogue is the original Mr. Malaprop. Lawton makes his voice, eyes and entire body language a malapropism. The juxtaposition of Dogberry’s scenes with other scenes is a startling comedic device. It’s so out of context that it never fails to amuse.

Framing the scenes with cheerful melodies are the compositions of Alex Bechtel, music director, that are sung with charm and grace by Michael Covel, accompanying himself on guitar.

Noteworthy in supporting roles are Taysha Marie Canales (Margaret), Sean Close (Don John), Mary Tuomanen (Ursula) and (for July 15-17 performances) Johnny Drumgoole (Don Pedro).

The cast includes Sydney Abbott, Kayman Brown, Maboud Ebrahimzadeh, Zoe Fox, Alaina Hurley, Iyanu Joshuasville, and (July 15-17) Katie McGlone.

Set design by Paige Hathaway and lighting by Steve TenEyck create a bucolic atmosphere. Costumes by LeVonne Lindsay are nicely nonspecific. Sound is by David M. Greenberg.

Erin Sheffield is choreographer for the show, which in the final scene turns into a joyful frolic, emphasizing that “Much Ado About Nothing” is about something after all: life itself and the joys to be had and truths to be discovered therein.

“Much Ado About Nothing,” Schubert Theatre, Labuda Center for the Performing Arts, DeSales University, Center Valley, 7:30 p.m. July 27 - 30, Aug. 3 - 5; 2 p.m., 7:30 p.m. July 31, Aug. 6; 6:30 p.m. July 26, Aug. 2, and 2 p.m. July 24, Aug. 7.

Face masks are required in Labuda Center.

There are talk-backs after July 28 and Aug. 4 performances.

The 2 p.m. Aug, 6 performance provides open-captioning for patrons who are deaf or hard-of-hearing and audio descriptions for patrons who are blind or visually-impaired. Tickets are half-price for patrons using these services. Information: box office manager Kyle Schumaker, 610-282-3654, ext. 1.

Tickets: www.tickets.desales.edu; 610-282-3192