We've all sat around debating the age-old conundrum, "Did William Shakespeare really write all those plays?" All right, maybe that's only the stuffy English grad students among us. Rorschach Theatre's production of The Beard Of Avon offers its own answer to the heated question, but the results prove much more than an academic exercise -- instead, it gives us a delightful romp through the lives of the usual suspects in the Shakespeare controversy, from Sir Francis Bacon to Edward De Verve to the (faux?) Bard himself.

In the play, Will Shakspere (sic) is a bumbling theater groupie who delights in "playing at poetry," engaging in rhyming games somewhat reminiscent of Fezzik and Inigo's exchanges from The Princess Bride. He stumbles his way into a pretty pathetic acting gig (though we must remember that "there are no small parts", as Scott McCormick's sonorous director Heminge reminds us), and eventually makes the acquaintance of Edward De Vere, a nobleman with a knack for playwriting but with no desire to lose his social standing if his art were to become public. Shakspere becomes his non-de-plume, and a friendship and partnership is born, which naturally gets more and more complicated as the play progresses.

The show could easily have its roots in British comedy, with its effective mix of outright silliness and clever wordplay. It does an exceptional job weaving in historical content, Shakespearean shout-outs (an Ophelia allusion referencing a "15-year-old drowning in a duck pond" is one guffaw-worthy example), and pointed jabs at the often-pretentious nature of theater. Beard of Avon tries to accomplish a lot: building layered relationships between characters; showing the creative-writing process in motion; even performing a handful of plays-within-a-play, most notably a zany "early version" of The Taming Of The Shrew. While in this it does an admirable job -- few scenes seem superfluous -- the work as a whole does drag occasionally. For example, the play's crescendo, when one would-be playwright after another starts shoving scripts into Shakespeare's face, seems a fitting ending, but at that point, there's still at least two major plot threads to wrap up.

But all minor complaints are forgiven when the talented cast shows up to deliver witty one-liners and deft physical comedy. As Shakspere's wife Ann, the engaging Valerie Fenton starts off appropriately shrill, and transforms into a saucy and seductive foil for her husband as the show continues. Eric Singdahlsen's elegantly slimy de Vere provokes a laugh with every narcissistic turn of phrase. And one can't help but root for the earnest, pitiable Shakspere, in whom Grady Weatherford invests unexpectedly sharp comic timing. The supporting cast is strong –- particularly memorable is Wendy Wilmer's Queen Elizabeth, whose hula hoop-inspired costume is practically a character in itself.

There are some neat staging tricks at work as well –- severed body parts and dripping blood are used to amusing advantage, and the show boasts a particularly well-executed farcical fornication scene.

The Beard Of Avon runs through Nov. 19 with shows on Thursdays, Fridays and Saturdays at 8 p.m. November offers some weekend 5 p.m. shows as well. Tickets are $18/$12 for students and seniors. For details, visit the show’s website.

Disclosure statement: DCist contributor Jason Linkins provided set construction and electrics for the production