Though it’s set in 1937, “You Can’t Take It With You” includes themes and ideas that still resonate today. The show, by Broadway legends Moss Hart and George S. Kaufman, is currently playing at the City Theater in Biddeford.

It’s definitely a comedy, but one with serious overtones.

While there are numerous interactions and sub-plots, the central idea is that a young man from a socially prominent and wealthy family wants to marry a girl from a poor and dysfunctional family, and it’s up to him and the girl’s grandfather to convince the boy’s father that they, and not he, have chosen the better path.

As a comedy, the show “Rumors,” seen earlier this year at the theater, is a funnier show, perhaps because it has fewer characters and has no social overtones. Nevertheless, this show is entertaining from the get-go, because each character looks and acts their stereotyped parts extremely well, and some better than that.

Robert Crown is perfect in the part of the patriarch of the family, Grandpa, and delivers his lines like the accomplished actor that he is. Penny Sycamore plays his daughter, Gretchen Wood, who is part writer, part painter and loose cannon. One could speculate that her inspiration may have been Edith Bunker from “All in the Family.” Her husband, Paul Sycamore, is played by Karl Carrigan, and spends his time trying to create fireworks with his buddy, Mr. DePinna, played by Kirk Boettcher, whose voice and mannerisms recall Tim Conway of “The Carol Burnett Show.”

There are numerous smaller parts: Hannah Spiedel, as the cook, Rheba, has the most penetrating laugh/scream I have recently heard, and the part of Essie Carmichael, Penny’s daughter and budding ballet dancer, is played by Joanna Clark. She must be really good to dance that poorly.

Thrown into this mix of characters is a Russian ex-patriot and ballet teacher, Kolenkhov, played with vigor by John Bird. His thick accent is Russian to be sure, and he has some witty lines, such as when he’s asked his opinion of his dance student’s work: “It stinks.”

Tony Kirby, portrayed by Andy Lamb, plays the socialite boyfriend of Alice Sycamore, ably played by Alyssa Rojecki.

The parents of Kirby are Sean St. Louis Farrelly, whose resonant voice lends credence to his status. The smaller but more telling part of his wife is played really well by Rebecca Cole. Her facial expressions and eye movements convey much, even though she has few lines.

A small but still important part, that of a drunk actress, is played for all its worth by Dolly Constantine, while another character, Donald, portrayed by Van Beckman, got knowing chuckles when he complains that he has to wait a half-hour in line to collect his unemployment check.

There is but one set, but it cleverly evokes the time frame of the 1930s. Megan Cross deserves a world of credit in utilizing every corner of the stage. Kevin Smith composed some original music, which added to the charm of the show. The last weekend of performances take place May 23 and 24 at 7:30 p.m., with a matinee on May 25 at 2 p.m.

— Dr. Gold, a composer and conductor is an arts reviewer for the Journal Tribune.