"Man and Superman" at the Irish Repertory Theater There is a touch of the unhinged in Jack Tanner, the hero of "Man and Superman," as played by Max Gordon Moore in this sparkling revival of George Bernard Shaw's comedy at the Irish Repertory Theater. Wide-eyed, exasperated by human folly, Tanner speaks for Shaw himself. But Mr. Moore's agitation adds a vivid animus that this often talky play requires, and his performance illustrates what makes this staging, produced with Gingold Theatrical Group, so winning. Man and Superman From left, Janie Brookshire, Max Gordon Moore and Jonathan Hammond in the Irish Repertory Theater's production. The complete "Man and Superman" has four acts and can run more than five hours, given its characters" tendency toward protracted discussions about class, religion, the sexes and other topics (leavened, fortunately, by volleys of wit). This brisk adaptation by David Staller, who also directed, clocks in at two acts and a welcome two and a half hours or so. It announces its philosophical agenda immediately, as the cast take turns reading Shavian aphorisms from Tanner's "Revolutionist's Handbook and Pocket Companion" before delving into the narrative itself. Amid all the verbal pirouettes is a narrative: Tanner, a progressive gadfly notorious for his heretical book, has been asked to be the guardian of Ann Whitefield (Janie Brookshire) in her father's will, to the consternation of her other guardian, the gruff conservative Ramsden (Brian Murray). Ann has connubial designs on Tanner, even as she fends off the hapless aesthete Octavius (Will Bradley). Her headstrong sister, Violet (Margaret Loesser Robinson), meanwhile, has scandalously taken up with an American, Hector (Zachary Spicer), whose unknown identity provides much of the first act's momentum. The intentions of the focused but less forthright Ann send a terrified Tanner to Spain with his Cockney chauffeur, Straker (Brian Sgambati), where he is waylaid by the peasant brigand Mendoza (Jonathan Hammond). Overnight at Mendoza's camp, Tanner dreams, and we enter the "Don Juan in Hell" sequence - a kind of lofty academic bull session often omitted in productions - in which the sworn bachelor Tanner and other characters portray their counterparts in the life of Don Juan, with Mendoza as Lucifer. Here, too, the exchanges are buoyant, not didactic, the players like spirited parlor guests. Later, back on an earthly plane, the principals reunite and peace is restored. For years Mr. Staller hosted Project Shaw, readings at the Players Club in Gramercy Park, and his fluency is apparent. In addition to his uniformly charming cast, he has enlisted ace technical contributors: James Noone's stately set for Ramsden's study is warmed by Kirk Bookman's autumnal lighting; Theresa Squire's costumes embody turn-of-the-century elegance; M. Florian Staab's unobtrusive sound design offers the clop of carriage horses and an amusing fanfare swell when Hector starts pontificating. Shaw, rightly or wrongly, perceived women as compelled by their reproductive instinct, emissaries of what he called the life force. He lived to 94. In its intellectual energy and exhilarating vivacity, this production honors Shaw's life force as well.