Marin Shakespeare Company has a long tradition of clever interpretations of the Bard’s classics.

Robert Currier’s “The Merry Wives of Windsor” was reset in the free-love era of early 1970s Marin County; James Dunn presented “The Taming of the Shrew” in an 1880s West Texas frontier town. At Dominican University of California’s Forest Meadows Amphitheatre, this year’s “A Midsummer Night’s Dream” moves forward to a science-fiction/fantasy: Athens, 3000 A.D.

Adapted, directed and choreographed by Bridgette Loriaux, the inaugural production unfolded on a spectacularly psychedelic rococo set by Nina Ball that promised an equally spectacular performance. The audience was not disappointed.

The premise of “Midsummer” is a riot of mistaken identities, garbled emotions and ardent lovers dashing about the woods at midnight. This time around, the seasonal favorite combines Shakespeare’s essential story with elements as diverse as Bollywood musicals, kung fu action films and even some Star Wars references, such as the long white cassocks and moon boots worn by several performers (costumes by Bethany Deal Flores).

Fight director Dave Maier must have been given carte blanche, as the show delivers a surfeit of onstage faux combat with long poles, and plenty of nonlethal swordplay not seen in other productions. Loriaux, an aerialist who performed at the 2008 Summer Olympics in Beijing, contributes plenty of action, with performers spinning and leaping all over the big stage and running up and down two spiral staircases.

Other unexpected elements enter the fray: Puck (Rob Seitelman), the supernatural being who initiates a night of magic and confusion, isn’t the standard fairy sprite but instead a hulk like a Turkish wrestler with a baritone voice. And Hermia’s ardent suitor Lysander has been recast as Lysandra, with appropriate changes to dialogue.

The story’s setup and plot remain the same: Athenian nobleman Egeus (Richard Pallaziol) asserts his parental right to dictate that his unmanageable daughter Hermia (Storm White) should marry Demetrius (Ixtlan) rather than Lysandra (Adrian Deane), the true object of her affection. Duke Theseus (Johnny Moreno) reluctantly agrees, giving her time to consider her options. Fairy king Oberon (also Moreno) and Puck sprinkle magical flower pollen on the eyes of the sleeping lovers to ensure that they will fall in love with the first creature they see upon awakening.

Secondary plots abound. Theseus plans to marry Hippolyta (Charisse Loriaux), while Hermia’s best friend Helena (Elena Wright) is smitten with Demetrius. As entertainment for the duke’s upcoming wedding, some workmen put together a deliciously ill-conceived improvisational act about the tale of frustrated lovers Pyramus and Thisbe.

This comically inept play-within-a-play could be construed as Shakespeare making fun of himself. He was certainly poking fun at amateur theater.

The workmen are wonderfully entertaining — it’s a real joy to see adults acting silly. Steve Price is outstanding as Bottom, the donkey-headed doofus. Perhaps the best comedic actor in the North Bay — if not the entire Bay Area — Price had the audience howling with his over-the-top death scene. Seatmate Phoebe Moyer, a theater director of long experience, whispered, “He always eclipses himself.”

Almost the entire cast of this “Midsummer” perform dual roles, a tradition with this play. Moreno plays Theseus and Oberon, while Charisse Loriaux plays Hippolyta and fairy queen Titania. Similarly, Pallaziol plays Egeus and also Peter Quince, leader of the workmen’s acting troupe.

In a play whose primary conceit is confused identity, this dual-role gambit can backfire on an inexperienced audience. Potential ticket buyers are therefore encouraged to read a synopsis on Wikipedia or elsewhere. Flores’ costumes help enormously in differentiating characters, but there’s still plenty of potential for bafflement.

The performers give it their all in big, broad strokes, and truthfully, even if you can’t keep track of who is who or can’t quite decipher the ornate language, the show is still riotous fun.

Original music in the pop/rock/dance-club vein by David Warner adds tremendously to the show’s impact. Marin Shakes has made big upgrades to the outdoor sound system since last season. It’s now enveloping and articulate, freed from the buzz and dropouts that we’ve previously endured at Forest Meadows. It’s very difficult to generate deep, immersive bass in the open air, but the new system soars under the expert guidance of sound designer Ray Archie. The show closes with an infectious dance party; everyone is encouraged to get up and shake their booty.

Running through July 13, Marin Shakes’ “A Midsummer Night’s Dream” is a sure bet for summer fun.

Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at barry.m.willis@gmail.com