With the notable exception of Noises Off, theatrical farce is far more often labored than amusing. But One Man, Two Guvnors, newly arrived on Broadway from London’s West End, is hilarious enough to melt the most stone-faced. Featuring a star-making turn by James Corden in what may be the single most endearingly funny performance I’ve ever seen onstage, this updating of Carlo Goldoni’s 18th century commedia dell’ arte masterpiece offers two-and-a-half blissful hours of escapism.

Playwright Richard Bean has cleverly transposed the action to 1963 Brighton, providing the opportunity for plenty of visual gags riffing on the era’s mod stylings, as well as musical contributions from an onstage four-piece skiffle band dubbed “The Craze.”

The plot is too convoluted to explain in detail, but it’s basically an excuse for a non-stop series of throwaway gags anyway. Suffice it to say that it involves the portly Frances Henshall (Corden, last seen here in The History Boys), who somehow winds up becoming the underling to both a pretentious public-schooled gangster (Oliver Chris) and a small-time criminal (Jemima Rooper). Except that the latter is actually the criminal’s twin sister, who has donned male drag to impersonate him and avenge his murder by the gangster.

The evening’s unquestionable highlight is an extended scene in which the ever-ravenous Frances attempts to stuff his face while simultaneously attending to the culinary needs of his two bosses who are dining in separate rooms at the local pub. Most of the hilarity is provided by the physical contortions of an octogenarian waiter with a heart condition, brilliantly played by the rubber-limbed Tom Edden.

Admittedly, the humor drags at times, especially in the second act in which all the plot elements have to be neatly tied together. But there are so many jokes, of both the visual and verbal variety, that one can easily forgive any longueurs.

Corden, resplendently attired in plaid, offers a virtuosic turn in which every moment feels off-the-cuff and improvised. And some of it is, as many of the bigger laughs come from his interactions with hapless audience members--the surprises of which, and they are many, will not be revealed here. The actor has been playing the role since the production’s National Theatre premiere a year ago, but there is no staleness evident. Indeed, the sheer joy he exudes in being onstage is contagious.

Nicholas Hytner--with the clearly invaluable aid of “physical comedy director” Cal McCrystal--has staged the comic proceedings with Swiss watch-style precision. The performances by the entire ensemble, including the band members who provide diverting musical interludes, are exceptional, although the wonderfully named Suzie Toase is a particular delight as the voluptuous wench who makes Francis an unlikely sex object.

Music Box Theatre, 239 W. 45th St. 212-239-6200. www.Telecharge.com.