There’s something about a man in uniform.

At least, there usually is. But George Bernard Shaw’s pointed comedy “Arms and the Man,” now being staged by the University of Michigan department of theatre and drama, argues that romantic notions about war are at worst lies, and at best merely absurd.

Set in a respected Bulgarian family’s home during the Serbo-Bulgarian War, “Arms”’ plot is set in motion when a retreating Swiss soldier-for-hire, Captain Bluntschli (Kris Reilly), climbs into the dark bedroom of an idealistic young woman, Raina (Arielle Goldman), who’s engaged to marry a dashing-but-dense Bulgarian war hero, Sergius Saranoff (Paul Koch). Raina helps Bluntschli escape, but later, he returns to the family’s home and turns everything on its head.

Shaw worried that “Arms”’ sharp comedy might sometimes outshine its more serious messages; and indeed, some directors play it over-the-top. But director Philip Kerr takes pains to keep U-M’s production on an even keel, allowing the circumstances of each scene to drive the bulk of the comedy.

Though Bluntschli is often depicted as a charming, self-assured layabout who revels in his talent for casual candor, Reilly plays the mercenary as a more disciplined, matter-of-fact creature that’s ruled by reason - which would seem in line with what's perceived to be the Swiss national character, but slightly complicates Raina’s attraction to him.

On the topic of Raina, Goldman nicely plays up the character’s elevated sense of life’s drama without taking it too far; and when Raina can finally drop the act, the relief Goldman conveys is palpable.

Sergius, meanwhile, often presents any production of “Arms” with one of its biggest challenges, because he needs to be a larger-than-life, comically pompous character, while tonally, he must still basically fit within the on-stage world that surrounds him. On opening night, Koch flirted with going beyond the boundary at times, in terms of acting style, but generally, he got laughs without compromising the production’s integrity.

Plus, Reed Campbell, playing Raina’s blustery, clueless father, was a wonderfully funny, appealing presence. But Margot McGrath, as Raina’s mother, provided what was perhaps my favorite performance of opening night. She not only played a middle-aged woman quite convincingly, but by way of her hysterical facial expressions, movements, delivery, and timing, she made a second tier character someone you hoped would be on stage in every scene.

Michael Bou-Maroun gives “Arms” a simple set that allows for relatively quick scene changes (the show runs just beyond two hours), and Dawn Rivard’s meticulous wig design helps to transport the audience back to the 19th century. Jessica Hahn does her usual outstanding work with costumes, while Mary Clare Blake-Booth lights the production with straightforward clarity.

Above all else, Kerr’s “Arms” succeeds at gently reminding audiences of the inevitable absurdity of both class distinctions and war - chief among the latter being the myth of the fearless hero. Nothing is so easy or black and white when it comes to human beings, and Shaw’s timeless messages still go down easily, thanks to the sly humor that accompanies them every step of the way.

Jenn McKee is the entertainment digital journalist for AnnArbor.com. Reach her at jennmckee@annarbor.com or 734-623-2546, and follow her on Twitter @jennmckee.