Bernard Shaw’s Man and Superman is one of out greatest comedies, and possibly the one with the most serious depth, philosophical value and telling wit. It has been given a splendid production at the National Olivier, directed by Christopher Morahan with setting by Ralph Koltai.

There is compelling entertainment which shimmers with intellectual lights in Shaw’s exposition of his Life Force theory and of  the enveloping power of Eugenics, his mighty battle between Man and Woman and his dramatising of Tanner’s Revolutionist Handbook. The direction gives the work full reign, and the settings, with enormous curved mirrors, reflect many facets of the work with remarkable effectiveness. In the domestic interplay, there is a revealing picture of intimate family life, while with the man, Tanner, and his chauffeur Henry Straker there is a class-versus-class speculation and pronouncement. With Man and Woman in full flourish, there is sexual mystery and savage human exploitation , and in the splendid Don Juan in Hell scene there is a daring and stylish accompaniment to the main play. Man and Superman can be enjoyed on many levels – lightly, gaily, very seriously, politically, morally – all these elements are blended so that each enriches the other. The whole is beautifully shaped in movement and pace, like a great symphony.

Daniel Massey, made up to look like Shaw, is a stirring, amusing Tanner, the only weakness in his performance being a tendency to be querulous and to pitch his voice too high at the end of a tirade of vigorous protest. Penelope Wilton is a commanding and attractive Woman, Ann, and there is work of considerable value by Basil Henson as Ramsden, Barbara Hicks as Miss Ramsden, Anna Cartaret as Violet Robinson, James Carter as Straker and Michael Bryant as Mendoza. The richly realised Edwardian costumes are by David Walker and the excellent lighting is by Joe Davis.