“The Taming of the Shrew” is often billed as the ultimate “battle of the sexes.”

The battle is not always a contact sport, and in Director Matt Pfeiffer’s production, through Aug. 7 at the Pennsylvania Shakespeare Festival, it’s more of a rapturous dance.

And, while “The Taming of the Shrew” is often also billed as one of the first rom-coms, as in a romantic-comedy movie, or one of the first sit-coms, as in a TV situation comedy, it is not often considered a musical.

Pfeiffer’s PSF Main Stage production in Labuda Center for the Performing Arts at DeSales University, Center Valley, while not a musical per se, is a play with lots of music, which provides segues between scenes.

As the audience files in, actors stroll the stage and chat, while others sing and serenade on guitar, ukulele, piano and accordion. It’s a sort of buskers meets The New Christy Minstrels.

Even the curtain talk (you know, when you’re asked to silence your cell phone) is done from the stage by none other than Eleanor Handley (Katherina, the “Shrew” of the play’s title). She seems rather nice during the curtain talk. Of course, that’s before she goes into character. Then, look out. Handley’s Katherina is not just sassy. She’s in attack mode.

At the same time, Handley, no doubt with Pfeiffer’s input, portrays Katherina with a lack of bombast often associated with the role (perhaps most famously, Elizabeth Taylor as Katherina in director Franco Zeffirelli’s 1967 “The Taming of the Shrew” motion picture). Instead, Handley’s Katherina emphasizes sophistication, elegance and a strong-will born of intellectual rigor and not mere stubbornness, recalcitrance, or plain orneriness.

That’s not to say things don’t get physical. Handley’s Katherina gives as good as she gets.

And that’s the point with “The Taming of the Shrew” for Pfeiffer and his merry band of men and women. This is a delightful “Shrew,” a light-hearted “Shrew,” an intelligent “Shrew” and a robust “Shrew” that’s immensely entertaining.

As Petruchio (the Richard Burton role opposite his then wife, Elizabeth Taylor, in the Zeffirelli film), Ian Merrill Peakes is also more likable than the brutish, thuggish, nasty lout as the role is often assayed. Peakes brings a muscular athleticism to bear, matched by a bright-eyes charisma that would be difficult for anyone to resist. Peakes’ Petruchio is a charmer.

When Katherina and Petruchio meet, it’s love at first fight.

The plot, of course, revolves around getting Katherina properly married before the family’s younger daughter, Bianca (the resplendent Ally Borgstrom), who already has a suitor, Lucentio (the effervescent Brandon J. Pierce), can be married.

In a further turning of the “Shrew,” Pfeiffer casts Baptista Minola, usually the father of the brides, Katherina and Bianca, as the mother of the brides (the regal and thoughtful Linda Thorson). Thus, an Elizabethan “Celebrity Family Feud.”

There are plenty of suitors for Bianca: the age-inappropriate Gremio (played by the appropriately hilarious Carl N. Wallnau), and Hortensio (the transformative Alex J. Bechtel, music director, composer and sound designer).

There are also plenty of disguises, which adds to the confusement and bemusement. Lucentio poses as a poetry instructor. Among the merry pranksters: Petruchio’s servant, Grumio (the droll Eric Hissom, who acquits himself well as singer and musician); and Lucentio’s servants, Tranio (Dan Hodge) and Biondello (Dane McMichael). The “Let’s Make a Deal” approach to matrimony is right out of a Marx Brothers movie in Pfeiffer’s hands.

Peiffer sets the performers loose. There’s a fair amount of audience interaction, audience address and wink-wink, nudge-nudge improvisational moments (opening night, July 15, included Grumio referring to PSF’s “Julius Caesar” production: “I hear it’s a real blood-bath.”). There are lots of gags, sight, sound and otherwise; several pop-culture references (including one to “The Wizard of Oz” Wicked Witch), and even a bit of juggling.

The cast includes Brendan Doyle (Curtis), Karen Peakes (Nathaniel, Tailor, Widow), Joyce Cohen (Pedant) and Dave Scheffler (Vincentio).

Gina Lamparella is Associate Director. Dale Anthony Girard is Fight Director and Choreographer.

Set Designer David P. Gordon evokes a sense of Shakespeare’s Globe Theatre, with large beams and a catwalk and a sense of yard-sale chic.

Costume Designer Olivera Gajic creates a rag-tag appropriation of the era with plenty of contemporary touches. It’s tunics, cloaks and bluejeans, leather jackets and sunglasses. There’s even an Hawaiian shirt and baseball caps.

With few exceptions, Lighting Designer Thom Weaver has the stage awash in white light, which also keeps the audience well-lit.

“And in conclusion,” as it’s said in the play, “The Taming of the Shrew” is fearless, thanks to Pfeiffer’s “no-holds Bard” style and the goofy energy of his inventive thespians. This is Shakespeare unleashed. It’s shear fun. Get ready to laugh and break into spontaneous applause of delight at this joyful reinterpretation of a classic.

“The Taming of The Shrew” cast is in repertory with “Blithe Spirit,” opening July 23.