AS national reserves of bunting run dry and Royal wedding  and boozy bank holiday fever grips the nation, this long-awaited revival of Simon Mawdsley’s sparkling debut could not have been more apposite.

Granted, the script had been dusted down and tarted up a little to ensure some of the jokes and references were not lost on a 21st century audience, but its themes are both timeless and universal.

Everyone has a hilarious or downright bizarre tale to tell about a wedding. Confetti brought some of the very best vividly to life using a cast of brilliantly idiosyncratic characters instantly recognisable to anyone who’s ever had one too many at a wedding disco.

There’s the embarrassing uncle (Andy Bownass’s over-the-hill party animal Uncle Bob), the snooty mother of the bride (Chrissie Agnew’s plummy mummy Betty), the cheeky, cheating groom (played with mischievous relish by Dan Thomas) and the sour-faced bridesmaid who’d rather be anywhere else (Angharad Bowen’s tetchy take on Tanya).

A philosophical photographer (the impressive Lee Barnes) neatly linked the action together in a series of well-narrated freeze frames, while a depressed reverend (the gloriously grumpy Gavin Williams) whose doubts over the sanctity of marriage have just been confirmed by his cheating wife (“She ran off with a Jehova’s Witness”) provided one of the biggest laughs of the night as he hit the wheels of steel as “The Rev DJ”.

Add a bankrupt father of the bride (the ever-brilliant Bernard Moule) and – best of all – a half-blind, blind drunk best man locked in a perpetual panic attack (a show-stealing performance from Alex Bennett) and you’ve got one hell of a party.

So raise a glass and toast Confetti – it’s difficult to imagine how Wills and Kate’s big day could ever live up to such a spectacle.