The Orpheum Theatre is hosting the newest campy musical “The Big Gay Jamboree,” with a book by Marla Mindelle and Jonathan Parks-Ramage. Ms. Mindelle, who is known for the cult favorite “Titanique,” also pens the lyrics and composes the music with Philip Drennen. The show is splattered with pop culture, musical theater, and gay social behavior references that are sure to please a younger audience that is out for an evening of fun entertainment. A bit over the top with colorful cartoonish sets complete with a revolving turntable (remember “Les Misérables”) by dots, and a plethora of outlandish, but fitting costumes by Sarah Cubbage, ensures a gay extravaganza.

The story begins with Stacey (an animated Marla Mindelle) who has a degree in musical theatre but cannot land a role, deciding to give it up and move to San Francisco with Keith (a subdued Alex Moffat who is totally underused), her very rich boyfriend. Falling asleep drunk, she wakes up in a dream, or in this case it might be a nightmare, where see is caught in a 1940’s musical in the town of Bareback, Idaho, and can’t escape. Not Oz, but Idaho, “Oh my!” There she befriends three of the townsfolk who might also be caught in a miserable place where they do not fit in. There is Flora (a vibrant Natalie Walker), who loves men and has quite the reputation of being a bit loose and insatiable. Next is Clarence (a polished Paris Nix), the token Black man and musical director in town, who people adore, especially when he belts out a gospel song. Finally, there is Bert (a pleasant and likable Constantine Rousouli), an outcast who is a repressed homosexual. As can be expected these three characters are not too well received by the townspeople, so they become more than willing to help Stacey find her way home, hoping they can also find a better place. Starting to sound familiar? Well, that is only the beginning, as the spoofs and send ups of musical theatre and everything else gay culture supposedly represents, starts to barrage the audience.

The cast is absolutely one of the most talented now appearing on a New York stage and are all in on the fun, not missing any opportunity to punctuate the broad and absurd comedy. Ms. Mindelle is a powerhouse with a big Broadway voice, great comedic timing and knows how to deliver her own material. Ms. Walker creates a super animated Flora who creates a larger-than-life character. Mr. Rousouli takes his star turn doing justice to a dance solo spoofing “The Music and the Mirror”.  Finally, Mr. Nix brings down the house with a strong and powerful gospel number complete with back up choir singers.

The show has some excellent moments but althe offensives share of groaners, with references and jokes that go a bit too far and border on offensive. The problem is sometimes the timeline. It seems that the 1940’s is fine, but some references characterize gay stereotypes from the 90’s, which does not necessarily represent the LBGTQ+ community of present day. Also, the extensive repetitive references to The Housewives series becomes a little boring after a while. Wrapping up the ending on a more serious note, with a message of “be careful what you wish for” or realizing that the life you thought would be easy and glamorous is very hard work and actually a difficult job, slightly undermines the absurdity of the previous ninety minutes. Seeing the response from the audience and a standing ovation, this show, like “Titanique” has certainly found its target audience, and will become a cult favorite securing a long run at the Orpheum Theatre.