BETTY Blue Eyes is technically not an Alan Bennett show but we are now so steeped in the Bennett 80th Birthday season that he is everywhere you look at the Playhouse – and everyone is beginning to resemble him.

Look, there's the real thing, face as big as a barn owl, in the posters for An Audience With Alan Bennett, on the Sunday just gone. Look, there's Reece Dinsdale's uncanny approximation of him in Untold Strories: Hymn and Cocktail Sticks, running in the Courtyard until Saturday. And look again, in a double take, at Haydn Oakley's Gilbert Chilvers in Betty Blue Eyes in the Quarry Theatre. Bennett round glasses, Bennett jacket and tie. Bennett colours. Bennett melancholia.

It could be coincidence or more likely canny marketing to entice you to see this George Stiles and Anthony Drewe musical. Then again, the Bennett connection could not be stronger. The script by Ron Cowen and Danielle Lipman is adapted from Bennett's screenplay for his 1984 film, A Private Function, the one with the pig facing the chop and Monty Python's Michael Palin in the role of humble chiropodist Gilbert.

The musical spin-off began life in 2011 as a Cameron Mackintosh London production and is now doing the regional rounds as an updated West Yorkshire Playhouse co-production with Liverpool, Colchester and Salisbury theatres: a theatre business model that will be rolled out more often across the country in response to theatres having to make funds stretch further.

Betty Blue Eyes is a fine advert for "co-pro" theatre, but Daniel Buckroyd's show holds Yorkshire significance too. A Yorkshire story is returning to its spiritual home, as WYP artistic director James Brining puts it, in the musical's first staging outside London, while also reinforcing the Playhouse's links with the ever-polished, ever-witty Stiles and Drewe.

The story is set in a post-war Britain, still under the shadow of austerity and rationing, but the combination of Bennett, Cowen and Lipman mines the humour to be found in the hypocrisy of small-town martinets amid a thriving black market in Shephardsford.

Oakley's shy Gilbert has plenty on his plate dealing with the social-climbing aspirations of his wife, Amy Booth-Steel'sJoyce, and his dotty mother-in-law, Sally Mates's Mother Dear, but not enough in the bank to influence the town's self-seeking councillors, led by Kit Benjamin's irascible Dr Swaby, into granting him business premises on the high street.

Out of the fierce glare of government meat inspector Mr Wormold (Tobias Beer), they are fattening up Betty, the highly illegal pig with the blue eyes, for a lavish private function in honour of Princess Elizabeth and Prince Philip's forthcoming marriage. Whereupon Joyce, the Lady Macbeth of the piece, sees the only way to break into high society and gain an invitation is to pig-nap the porker.

Add Andrew Wright's delightful choreography to Stiles and Drewe's perky swing songs, Sara Perks's northern townscape stage and performances that have a lovely lightness, and Betty Blue Eyes goes down so much better than the plentiful uses of Spam.

Betty Blue Eyes, West Yorkshire Playhouse, Leeds, until July 5. Box office: 0113 213 7700 or wyp.org.uk