October performances at Carmel’s Outdoor Forest Theater often give audiences gorgeous evenings with ideal weather and clear skies in a historic setting that seems to offer the best of this city by the sea. Pacific Repertory Theatre’s “Sense and Sensibility” opened last weekend on one of these perfect nights where a crescent moon peeked coyly through pine branches, and balmy air embraced the actors and audience alike.

Jane Austin’s famous story in Kate Hamill’s stage adaptation transforms its telling into a fast-paced, choreographed romp, with furniture on rollers, multicharacter casting, clever theatricality and humor galore. Director Kenneth Kelleher, now in his 20th season with the company, guided the play with his usual flair and ingenuity.

If, like me, you put Ang Lee’s film treatment of “Sense and Sensibility” on a pedestal as the finest movie or stage portrayal of an Austin novel, you may raise an eyebrow reading about Hamill’s raucous, comedic approach. Luckily, the styles prove so different that it wasn’t hard to give myself over to the PacRep account and just enjoy the ride. It took mere moments to laugh out loud. The story’s heartrending scene of the untimely death of the Dashwood sisters’ father is dispatched with farcical speed when a stuffed corpse rolls onstage and is hurled offstage as we learn the family is rendered destitute by the conniving wife of the half-brother who inherits the estate. The daughters’ marriage hopes are dashed.

I won’t say that images of Kate Winslet, Emma Thompson, Alan Rickman, Hugh Grant and the other marvelous British actors in the film didn’t dance through my head as the play unfolded because they did. But the 10 players at the Forest Theater acquitted themselves with panache and the serious underpinnings of Austin’s message remained clear about the social inequities and ideals of the time along with the strengths and weaknesses of her characters.

Kelleher’s splendid ensemble includes Anjoli Aguilar, Kristin Brownstone, Jeffrey T. Heyer, Matthew Kropschot, Jennifer Le Blanc, Nick Mandracchia, Caitlin Papp, Sydney Schwindt, Bri Slama and Michael Ray Wisely. Of these performers only Le Blanc as Marianne Dashwood and Schwindt as Elinor Dashwood, the two marriageable sisters, remain single cast. The others not only play the rest of the characters in the show but appear variously as trees, dogs, horses, carriages, stagehands, gossips and more, as needed.

Le Blanc conveys the spirited romanticism of Marianne and Schwindt the sensible reserve of Elinor. Aguilar’s fine portrayals include the scheming Fanny Dashwood and Lucy Steel, who dashes Elinor’s hope for a match with Edward Ferrars, played by Mandracchia, who undertakes both Ferrars brothers and Lady Middleton among his roles. Heyer makes a marvelous John Middleton, the relative who offers the bereft Dashwwods a place to stay and thrive on his estate.

There is some genderbending in the casting, in particular with the character of Lady Middleton who is played by Aguilar and two men. Wisely appears as Marianne’s suitor Colonel Brandon among his roles. Kropschot is John Willoughby, on whom Marianne fastens her prospects. Brownstone’s main role is the recently widowed Mrs. Dashwood. If all this is confusing, no worries. It’s fun ensemble theater, well played by all.Schwindt, who is listed as the production’s movement director, has choreographed the whirlwind staging with flamboyant skill, no doubt with Kelleher leading the way. Composer David Eakin’s musical soundscape is terrific. Patrick McEvoy’s scenic design features a pastoral backdrop and drop-down chandeliers, though the everchanging indoor and outdoor locations are mostly defined by the cast, props, and rolling set pieces. Joanne Martin’s costumes add dandy period style, and Joanna Hobbs designed smart, engaging lighting.

Performances continue Thursdays through Saturdays at 7:30 p.m. through Oct. 19. For information and tickets see www.pacrep.org/ or call 622-0100.