Practice must make perfect, because the cast of Don Juan is close to that pinnacle. Molière’s long-suppressed play, now on the boards at the Old Globe Theatre, is in its third incarnation, via Seattle Repertory Theatre and Princeton. This production features the original cast, with the addition of several MFA students from USD in smaller roles.

Translated, adapted and directed by Stephen Wadsworth, this is a rollicking retelling of the famous Spanish legend about a world-class womanizer who eventually gets his comeuppance, and in a most inventive manner.

Don Juan (Adam Stein) is, to put it mildly, a cad and a bounder. (If you’re familiar with Don Giovanni, this is your guy.) By the way, he’s also a murderer. But he gets away with his monumental misdeeds by virtue of class status, a facile tongue and devastating sex appeal. We would call him a sexual predator, except that women love him, fling themselves at him, gladly throw their lives away for him. He loves it, and them, but his attention span is only as long as it takes to get what he wants and espy other prey.

Don Juan’s poor, beleaguered valet Sganarelle (Andrew Weems), appalled by his boss’s antics, stays around because .... well, he needs the money, and hopes to eventually get paid. (The Don is also notorious for stiffing creditors and employees.)

Molière was a thorn in the side of church officials of the time. He treated nothing as sacred – not the church, nor political powers, nor social proscriptions. He made fun of them all – and most especially of hypocrisy of all kinds – and was frequently censored for it.

Don Juan opened in 1665, creating such an immediate furor that it was changed by its second performance and shut down by the 15th. Molière never published it, but it finally came out in 1813 and became a part of the repertoire of the Comédie Française in 1847.

This Don Juan is as beautiful a production as you will see. The sets are alternately clever (waves in the sea and a partial moving “sidewalk” in the forest) and impressive (a palace); the costumes absolutely gorgeous; the lighting terrific.

But it’s the acting that makes the show. Stein is perfect as the fast-talking Don who knows exactly what to say to get what he wants. And he looks smashing in those spectacular costumes.

Weems is terrific as the exasperated servant who hopes the Don will get his – preferably sometime after payday – and his second-act “logic” speech is priceless. Wadsworth has cast Francesca Faridany as both brother and sister Don Alonso and Donna Elvira, scorned wife of the Don; likewise Laura L. Kenny plays both Mathurine (another of the Don’s victims) and M. Dimanche, a businessman who tries to part the Don from some of the money he owes.

Don Juan is a Bad Man, but you have to admire the courage of a guy willing to dine with a statue who goes to his doom continuing to disbelieve the force taking him there.

There’s nothing better than a night of good theater, and – though parts of some of the second act speeches seem a tad overlong here – overall, theater doesn’t get much better than this.