Comedy is usually a successful way to approach any discussion about a difficult and awkward situation and often eases the tension surrounding the stigma that might be associated with the uncomfortable problem. Comedy writers have used this technique for years creating some of the most successful sitcoms that deal with controversial social issues. It may be more difficult to implement this formula into the genre of musical comedy for the stage, which is the case in the current production of “The Bedwetter” now playing at The Atlantic Theater. It is based on an autobiographical book by comedian Sarah Silverman. Part of the problem is the time restraint necessitated by a stage production and the need to address the issue and solve the problem within a reasonable timeframe, at the same time balancing the drama and comedy surrounding the plot.

This current incarnation of “The Bedwetter” seems like two separate productions in which comedy and absurdity dominates act one and then suddenly the second act introduces serious drama which then results in a happy conclusion. Too much happens too fast which is an obstruction to believability. Director Anne Kaufman exhibits prowess in navigating the material but the quickly paced show tends to become sluggish as the evening progresses and the attempts at comedy become more strained. Too many laughs depend on potty mouthed humor and vulgar jokes which wear thin by the end of the evening.

There is really nothing new in the material except for the embarrassing issue of bedwetting. It is surrounded by divorced parents, an oversexed salacious father, depressed mother who does not get out of bed, an alcoholic grandmother, and a group of mean girls at school. Dysfunctional does not even come close to describing this family situation.

The main character Sarah played by Zoe Glick is only complicated by what surrounds her. Ms. Glick gives an admirable and believable performance but falls short when it comes to vocals, mostly because of poor diction which results in lyrics not being understood. Darren Goldstein embraces the role of the father Donald with the utmost conviction, perfectly capturing the sleazy, immoral, unsophisticated owner of a retail clothing outlet. Beth Ann, the depressed mother, is portrayed by Caissie Levy with sobriety, vulnerability, and a strong undercurrent of sadness as she struggles to cope with her problem. Nana, the loving grandmother who has taught young Sarah how to concoct the perfect Manhattan is played with stoic charm by Bebe Neuwirth. She brings her authentic sense of comic timing to the role but unfortunately is underused. Ms. Neuwirth’s well fleshed out character is a breath of fresh air, as she never falls into stereotypical behavior and controls her simmering remorse, which is the root of her alcohol problem. The supporting cast is fully capable of handling their roles but cannot overcome the shortcomings of the script.

The music by Adam Schlesinger seems derivative and repetitive. You will not leave the theater humming any tunes. Choreography By Byron Easley is no more than pedestrian and is plagued by scenes such as oversized dancing Xanax capsules. If you happen to be a fan of Sarah Silverman, you may enjoy the performances and overlook the poor structure and unnecessary absurdity of the piece. If that’s not the case, this two-hour show may be tougher to swallow than those dancing Xanax tablets and the nonstop gratuitous profanity.