Offenbach's comic opera had been cast away in a far-flung corner of the repertoire when Opera della Luna rescued it in 1994. The company's speciality is staging pieces generally thought lunatic for far bigger companies to contemplate - and now, as it celebrates a defiant decade, Crusoe gets a welcome comeback.

Iford Manor's tiny Italianate cloister has a captivating atmosphere. But since it accommodates an audience of just 90 on three sides and a handful of musicians on the fourth, the challenge of opera in the square could hardly be greater. Yet Della Luna's shoestring resourcefulness could teach the big boys a thing or two: the Crusoe family drawing room is transformed in seconds into the ship on billowing waves that takes Robinson to the Orinoco.

Offenbach pokes huge fun at religion in this piece, and director Jeff Clarke's witty translation underlines why son of the manse Robinson is a headstrong tearaway before he's a castaway. Oliver White made him an attractive character. The libretto sails close to the wind in PC terms, but shipwreck was averted by the casting of Samoan Sani Muliaumaseali'i as a noble Man Friday. A tenor with baritone richness, Muliaumaseali'i was outstanding.

The production was not without its travesty element, though, with Simon Butteriss's Lady Crusoe a pantomime dame that suited Offenbach's deliberately farcical moments. That Butteriss went on to play the cannibal chef and a dastardly pirate illustrates how neatly Clarke juggled seven singers, two dancers and the implausible plot. Victoria Joyce was Crusoe's silver-voiced fiancee Edwina, and conductor John Andrews' deft handling of her lyrical aria and the final trio with Crusoe and Friday suggested there are good musical reasons for staging Offenbach oftener.

· In rep until Saturday. Box office: 01225 448844.