Britten’s comic opera is thoroughly well-suited to the studio proportions of the Howard Assembly Room. Its oval shape, with orchestra at one end and stalls audience within toe-touching distance of the singers, makes it ideal for theatre in the round.

It puts a premium, of course, on the acting, and with Josephine Barstow as Lady Billows, the grande dame of Loxford village, there is always the danger that the rest of the cast will be acted off the stage. But this lively and engrossing new production by Giles Havergal is cast from strength, despite including four debutants to Leeds. Barstow, too, is the epitome of an ensemble player.

Leslie Travers’s more or less permanent set is a marvel of economy. A stretch of greensward lies end to end, as if all the action is on the village green. Various carts of greengroceries easily conjure Albert’s shop. An raised archway in front of the orchestra doubles as shop-door and the dais on which Albert is crowned May King. A quite succulent repast is laid for the feasting; otherwise it’s all up to the cast.

They do not disappoint. Alexander Sprague is a versatile Albert, able to pout at one moment and fly into a rage of self-assertion when the crunch comes. We can feel his emotion building up inside, his likeable tenor that matching his personality. Barstow is riveting, every tiny gesture or lift of the eyebrow adding to her domination of a scene that one always feels is slightly beneath her serious consideration. Her soprano is as flexible as ever, if a little squally at the top. But, then again, that might also be deliberate.

The remaining characters are equally well differentiated. Elizabeth Sikora’s deep contralto makes her a prim Miss Pike, safeguarding the village morals. William Dazeley is the faintly scatty, benevolent vicar we all know well, Joseph Shovelton a volatile mayor, and Graeme Danby a jovial local bobby.

The American baritone Marc Callahan gives an engaging Sid, a nimble Jack-the-lad, full of fun. Katie Bray is a coy, slightly diffident Nancy. But we can believe her ultimate choice of thoughtful Albert over superficial Sid. It is good to welcome back Fiona Kimm, as the put-upon, ever-worrying Mrs Herring. We need her in Leeds more often.

Mary Hegarty’s well-meaning schoolmarm Miss Wordsworth is nicely complemented by the three children, who are confidently led by Charlotte Trepess as Emmie (accompanied on press night by Lily McNeill and Kieran Ragan).

Justin Doyle keeps his baker’s-dozen players in good balance with the cast and allows them space to develop their solos effectively, especially flute and clarinet. Kept exactly in the Edwardian period Britten intended, this comes very close to being the Albert Herring of one’s dreams, its teamwork exemplary. It should not be missed.

Further performances tonight, tomorrow, and May 21, 23, 24 & 25. www.operanorth.co.uk