Playwright George Brant takes us back to a Providence in the early days of World War II. While the men are off fighting, their wives, led by a tenacious Anne Scurria as Maggie Dalton, decide to put on a play at the Oberon, a community theater with a conservative bent.

After opening its season with a shattering production of Arthur Miller’s epic “Death of a Salesman,” Trinity Rep has turned its attention to a gem of a play, one of the sweetest nights of theater you’re likely to see this season.

It’s the latest effort from George Brant, late of Providence and often included in Trinity seasons. And “Into the Breeches” is his best work by far.

Brant takes us back to a Providence in the early days of World War II. While the men are off fighting, their wives, led by a tenacious Anne Scurria as Maggie Dalton, decide to put on a play at the Oberon, a community theater with a conservative bent.

Actually it’s not just a play, it’s the complete cycle of Shakespeare’s Henry plays and the ladies are about two dozen actors short of a cast.

Brant’s premise seems so innocent, so charming. But bit by bit he pulls back the curtains to take a look at a much bigger picture, a picture of a world in flux, where women begin to have a voice, gay men can put on a dress, and where specter of war looms large in the background.

Brant, with more than a little help from director Tyler Dobrowsky, manages to tackle these weighty issues and still keep a sense of humor. There are touching moments, of course, when letters from overseas aren’t returned. But the writing never gets saccharine.

Scurria plays director Maggie Dalton, who is just trying to step in for her soldiering husband Andrew. She’s also taking marching orders from stuffy Ellsworth Snow, a small-minded businessman, who's against the whole project and predicts mayhem on opening night.

But Scurria’s Maggie is not one to back down. She pushes for salaries for the women, something unheard of, and puts men in women’s clothes and vice versa, much to the annoyance of a sputtering Snow.

Brant has also come up with a wonderful cast of characters. Phyllis Kay, as the imperious Celeste Fielding, considers herself God’s gift to the theater. So when it is suggested she’s a bit long in the tooth and someone else should play the king, she storms off to Woonsocket to play Cinderella.

And Janice Duclos, Snow’s dutiful wife Winifred, is one of the many talents that makes this production shine. She’s the worst actor of the lot, until Maggie suggests she add a little Groucho Marx to her Falstaff. And when Stephen Berenson, who plays Stuart the stage manager, comes out of the closet, Duclos pauses for moment and asks, “Does this mean you’re a homosexual?”

After an answer in the affirmative, when we expect her to walk off the stage, she says in amazement, “This just keeps getting more delightful.”

Among the many issues this play tackles is how theater is not a relic, but about our lives today. And our lives, says Brant, aren’t lived fully unless we’re willing to take risks.

Trinity has rounded up some of its finest talent for this moving little play, many veterans and some newcomers, like plucky Meghan Leathers, a third-year student in the MFA program at Brown.

But as always, it’s a joy to watch longtime company members such as Scurria, Crowe and Rachael Warren, who know all the tricks.

The show is in the downstairs theater with a simple set by Cameron Anderson. But in the final moments, as Scurria steps on stage, there is a moment of pure magic.

But then, there are lot of magical moments in this not-to-be-missed show.

“Into the Breeches” runs through Feb. 25 at Trinity Rep, 201 Washington St. Tickets start at $25. Call (401) 351-4242, or visit trinityrep.com.