Be prepared to laugh. A lot.

"Le Comte Ory," which opened Friday night at the Rialto, is Tacoma Opera's fall production. They've got a reputation for doing unconventional works in fall, and "Ory" is not only unconventional, it's quite unknown. That doesn't make it any less funny, though, and the Tacoma Opera mix of bawdy jokes, ham-and-cheese stage direction and brilliant singing makes you wonder why only five other North American companies have done this little gem.

There's not a huge amount of plot, of course. While a castle full of nobles are off fighting the Crusades, the womanizing Comte (Count) Ory sets about getting himself and his buddies into the castle to seduce the Countess and her ladies. Act I sees Ory pretending to be a hermit advising the Countess; the plan is foiled by Ory's page Isolier. For Act II, Ory disguises his band of merry men as pilgrim nuns, whose refuge in the castle results in some madcap cross-dressing scenarios.

TO's production isn't big or splashy. Some creative sheer-cloth sets by Judy Cullen make the Rialto stage look bigger than it is, while the costumes are run-of-the-mill medieval. What stands out is the action and the superb cast.

As Ory, Javier Abreu is a delight. With more than enough chops for this difficult part, he sings with a big, relaxed tenor and fine nuance. He's also hilarious, whether as a simpering, lecherous nun or medieval Errol Flynn with long hair and tunic.

As the Countess, Jennifer Bromagen delivers: Under her deliciously wishy-washy façade lies a voice of steel, with high notes and coloratura to send shivers down your spine. Melissa Plagemann, in the pants role of Isolier, plays composedly with a clear, burnished voice, and Susan Salas as the Countess' maid Ragonde carries the straight-guy role with a big, round alto. Chad Sloan as Ory's pal Raimbaud spits out an excellently clear patter song.

Nor are they alone—the rest of the TO cast and chorus step up to every plate with panache, swaying their way through director Barry Johnson's hilarious stage directions. It's a movie-soundtrack kind of score, and Johnson seizes every chance to ham up the musical riffs with visual gags. No slapstick stone is left unturned, and the laugh-factor is worth it.

Under Bernard Kwiram, the onstage chamber orchestra played well, coping with some tricky ensemble issues as the chorus galloped around.

At just under three hours, this Rossini isn't the best ever—there are many repetitious parts where the score jogs rather than sparkles. But as Tacoma Opera turns it into the operatic version of "Monty Python and the Holy Grail," it's guaranteed to keep you giggling.

Rosemary Ponnekanti: 253-597-8568

What: "Le Comte Ory" by Gioacchino Rossini

Who: Tacoma Opera, dir. Barry Johnson

When: 2 p.m. Nov. 9

Where: Rialto Theater, 310 S. 9th St., Tacoma

Tickets: $25-$52, discounts for senior, youth, military

Information: 253-627-7789, www.tacomaopera.com, www.broadwaycenter.org