As adapted and directed by David Schweizer, Henrik Ibsen’s “Peer Gynt” (through July 24 at La Jolla Playhouse) is a romp and a romance that emerges from the folkloric, epic verse play created in 1867 by the Norwegian playwright, who considered it impossible to stage. Staged it was in 1876, with incidental music by Ibsen’s friend and countryman Edvard Grieg, and epic it was, with 50 characters and a five-hour playing time. Grieg was surprised that there were subsequent productions. People were intrigued by the title character and his picaresque adventures. Nearly 100 years later, while a student at Yale, Schweizer became intrigued with “Peer Gynt” as well. Over the ensuing 40 years, in five productions in several nations, he refined and reduced the huge play to scenes that fill two hours and capture the essence of the original work. Literary critics of the time called “Peer Gynt” a satire of Norwegian egotism, narrowness and self-sufficiency. Schweizer deems Peer “a man with outsize dreams and aspirations and a very shaky sense of reality.” He further believes that in our culture of bloated expectations, the play remains an entirely fresh search for identity. One cannot imagine a better company of actors to enact Peer Gynt’s search than Danny Gavigan, Luis Moreno and Even Zes as Peer and others and Brigit Huppuch and Kate Cullen Roberts as all Peer’s women, including his mother, Ase, his true love, Solveig, the abducted bride, Ingrid, and Anitra, a Moroccan seductress. As for Grieg’s music, there are bits woven into composer/sound designer Ryan Rumery’s pre-curtain music. His production songs might be described as pop ballads with a hint of Scandinavia. They seemed distracting, especially in the touching final scene, where Peer returns to Solveig and asks her to tell him where and who he’s been all these years. Another introspective scene takes place between Peer and the aged Ase, whom he takes on a sleigh ride to the pearly gates. His fight to get her admitted is typically Peer, whose journey is akin to that of Voltaire’s “Candide.” Having witnessed Peer’s phantasmagoric and hilarious adventures, from the realm of the Trolls to Egypt and Morocco, where he is separated from his fortune, the viewer is grateful for these human moments. The riotous physical comedy is enhanced by the men’s differing body types. Zes is small and elfin; Moreno, characterful and capable of menace; and Gavigan, built like the hero with a touch of the oaf. Huppuch has depth and heart as Peer’s true loves, Ase and Solveig. Roberts scores deliciously with Anitra and others. Together the five make a perfect ensemble, exuding joy and heart and light. You’ve got to love Moreno’s three-headed Troll King. David Zinn’s scenic design is flavorful of Norwegian great rooms. It is stocked with adaptable armoires and chairs, one of which resembles a sleigh. Christine Wright’s costumes are a delight, hinting at tradition with small touches like the lining of a coat or lapel treatment. Darrel Maloney is the lighting designer. IF YOU GO “Peer Gynt” continues at 7:30 Tuesdays-Wednesdays; 8 p.m. Thursdays-Saturdays; 2 p.m. Saturdays and Sundays; and 7 p.m. Sundays though July 24 at the Potiker Theatre of La Jolla Playhouse. Tickets are $31-$66 and can be purchased at www.lajollaplayhouse.org or by calling (858) 550-1010.