“Rent” meets “Wicked” in “Fable Attraction,” a spin-off of traditional fairy tales ranging from Humpty Dumpty to Cinderella. With a savvy balance of pop-culture references, word play, and Harvard humor, the constant jokes in nearly every line and lyric might seem a little excessive at first, but they keep the audience engaged until the curtain falls and leave it wanting more.

Before the show even begins, the title “Fable Attraction” begins the onslaught of comedy. The curtains open, a colorful unicorn named “Peggy Seuss” played by David J. Andersson ’09 delivers an introductory soliloquy—and the production’s off to a roaring start.

But if wordplay isn’t your cup of tea, not to worry. Hasty Pudding Theatricals, which is presenting its 160th show at the New College Theatre, guarantees more than a few laughs about the Harvard-Yale rivalry and enough celebrity gossip to fill a full year’s subscription to “US Weekly.” No person, place, or thing is safe from the Pudding’s comedic venom. The jokes come fast and furious thanks to writers W. Brian C. Polk ’09 and Kathleen H. Chen ’09.

“Fable Attraction” boasts a wide array of onstage, backstage, and musical talent. More and more characters enter the mix. These include Pete O’Felia (Mac H. Bartels ’09), a take on the Pied Piper; Oldielocks (Clifford N. Murray ’10), a combination of the old and apparently Jewish woman who lived in a shoe and Goldielocks; and Roy L. Pain (Thomas R. Compton ’09). The opening musical number features some surprisingly capable singing. Compton’s voice comes off strong even when a repeated ‘ribbet’ comprises his only sung line. Andersson and Daniel V. Kroop ’10 as the character Wan Childpolicy also display considerable genderbending vocal talents.

Even as the jokes wear on, the Pudding keeps the audience’s attention as new characters bring even more personality to the show. Giuseppi T. Boppityboo (S. Adam Goldenberg ’08, who is also a Crimson editor) is a modern “fairy godfather” with a mafia connection, while villainess Mia Pharaoh (Derek S. Mueller ’10) explodes onto the stage in a full-length sequin dress and a presence that outshines the sparkles. Giuseppi’s entertaining number entitled “A Fairy Like Me,” in which he orchestrates a Cinderella makeover, is one of the best numbers in the show thanks to both the writer’s humor and Goldenberg’s voice.

Additional praise should go to both composer Sam L. Linden ’10 and assistant choreographer Jessica M. Leonard ’08 for their contributions to the production. As with any musical, the often-overlooked orchestra supplies the show’s underlying excitement and the capable instrumentalists of the Pudding’s pit definitely keep up with the play’s nonstop score. Furthermore, the several choreographed dances are all entertaining and add that bit of pizzazz that makes this production so unique.

While the plot’s resolution may seem a little cheesy, the show itself concludes in true Pudding fashion with an astounding drag-queen-filled, Vegas-worthy performance, complete with feathers, sparkles, and a can-can line. Well-rehearsed and wildly entertaining, this last number epitomizes the energy and spunk that the Pudding builds throughout the entire production.