Broadway audiences did just about that two seasons ago, when a rollicking production of this former dog was regroomed into a prizewinning poodle - six Tony nominations, two winners.

It was an unlikely hit - simplistic plot, smarmy attitude, throwback '60s setup and a stab at every trick in the Book of Farce. Oh, I almost forgot: It was a scream.

Could this high-flying Broadway production about an American architect in Paris who juggles three buxom girlfriends - all stewardesses - by using their flight schedules, be replicated without falling from the sky?

And would this show, requiring monumental shtick, tip-top timing and an ensemble that turns its questionable machinations into pure charm, give its first-ever post-Broadway rights to one of Philadelphia's smaller suburban companies?

It's not impossible. But before we get to the strange flight history of Boeing-Boeing, know that Act II Playhouse in Ambler is piloting it through clear skies and landing without a bump. Smooth, in fact, is the production's operating concept, and a smart one: The smoother Boeing-Boeing rides, the funnier it is.

The production is directed by Act II's associate artistic director, Harriet Power, who has assembled a ker-pow cast of mostly local actors headed by the versatile Anthony Lawton, who excels at intense characters, and Tony Braithwaite, whose keen comedic sense has made him the region's all-round Sprite. (The kind with bubbles and sugar.)

The farce - you know it's one when you see Dirk Durossette's set with six doors for on-/off-stage mayhem - unfolds at a sprint. Power infuses her physically exacting production with such meticulous timing, the cast must view her as a Rolex with a pulse.

Lawton plays the girlfriend-juggler with gleeful hubris. Braithwaite, with hilarious extreme-Wisconsin-bumpkin accent, is a shlemiel college buddy who visits unannounced and is at once overwhelmed by the stewardesses - demanding TWA (Deven Walker), primal Alitalia (Jessica DalCanton), and imperious Lufthansa (Kristyn Chouiniere). The three - each playing a singular character who believes she's a fiancee - are equally matched in talent with the men, as is Sarah Doherty as a deliciously snarky housemaid.

Boeing-Boeing, by Marc Camoletti, was a hit in Paris and in its English translation in London in the early '60s. In 1965, it bombed on Broadway, running only 24 performances. That same year, Tony Curtis and Jerry Lewis had some success with it as a film. In 1985, an Indian studio put out a Malayalam-language version and in 2005 a Bollywood Hindi version, Garam Masala, juiced box-office registers.

The play, in a slight revamp that's still 15 minutes too long, was revived two years ago to great acclaim in London, then on Broadway for 296 performances last year.

At that point, Bud Martin - head of Act II Playhouse and a Broadway producer who backed the musical 9 to 5 - was at a meeting about that show along with a producer of Boeing-Boeing. Martin asked her for rights for Act II - a gutsy request, now that Boeing-Boeing was a hot property. They sealed the deal, and Act II's classy, gleeful romp became Boeing-Boeing's first post-Broadway staging. May those who follow fly with such confidence.